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MARGARET J. BLAIR'S 



SYSTEM OF 



Sewing and Garment 
Drafting. 



ADOPTED BY 

PUBLIC AND INDUSTRIAL SCHOOLS. 



BY 

MARGARET J. BLAIR, 

Instructor of Sewing in the School of Agriculture of 
University of Minnesota. 



THIRD EDITION, REVISED. 



ST. PAUL, MINN., 
WEBB PUBLISHING CO. 

1904. 



LIBRARY of CONGRESS 
Two Copies Keceivej 

DEC 19 iyo4 

Coiiyriiffit tntry 
CUSS O. XXt Noi 

976 V- 7 

COHY B. 



/ 



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Entered according to Act of Consress in the year 1900, 

By Margaret Blair, in the Office of Librarian 

of Congress, at Washington, D. C. 

THIRD REVISED EDITION. 

Copyrighted 1904 by 

WEBB PUBLISHING COMPANY, ST. PAUL. 



£--%&'( 



INTRODUCTION". 



The knowledge of making tapestries, embroideries 
and other beautiful needlework has been known for cen- 
turies, but the problem of putting the art of plain sew- 
ing on a scientific basis and making it a part of the edu- 
cation of woman is but just being solved. 

To meet the demand for practical methods and to 
supply the want that has been but inadequately met by 
the use of patterns, the author has prepared this man- 
ual. She has arranged it so systematically that it will 
be of great assistance to the teacher of sewing, and in- 
valuable as a book of reference for the pupil. 

The chapters devoted to the manufacture and weaves 
of materials are intended to aid the teacher in giving 
talks to her pupils on kindred subjects, also to render 
the pupil so familiar with the different kinds of cloth 
that she may become an intelligent judge of them. 

Since in any work a thorough understanding of the 
principles makes it easy, so in sewing, the first step is 
the inculcating of those principles which are the foun- 
dation of needlework, and each part of the work should 
be so thoroughly taught that the next becomes easy. 

Thus, the first year the pupil is taught how to sew, 
that is how to make the different kinds of stitches, 
seams and hems, also how to patch, darn and make but- 
ton holes. The next year she puts that knowledge to 
a practical use by learning how to draft and make un- 



derwear, shirt waists and cotton dresses. These steps 
thoroughly mastered, the pupil is then ready to take up 
the study of dressmaking. 

For children the work should be arranged somewhat 
differently, using canvas for the stitches, which are 
made with bright colored floss. 

The progress must necessarily be more slow than 
with an adult, and when the child has mastered those 
principles which enable her to work correctly and she is 
ready for the practical work, she may learn how To 
draft and make garments for a doll. Having accom- 
plished this, the pupil has a correct standard established 
and is able to distinguish between the excellent and the 
worthless, and to judge of the quality of her own work. 

As has been said, the aim of the system is educa- 
tional. It was planned to train the eye to see correctly, 
the mind to direct with facility and the hand to execute 
with care and precision. 

There is nothing in the line of art needlework in this 
course, but such mastery does the training give the child 
of herself, and the materials and implements used in 
sewing, that it has been found that children who have 
finished it can, with very little instruction, do very 
beautiful work of this kind. It is easy to understand 
how this training fits a girl to successfully undertake 
the finest art needlework, as she is not only trail km] to 
skill with a needle, but her sense of proportion is culti- 
vated; her eye trained as to color, and her mind made 
flexible and creative by being educated to work inde- 
pendently. 



TABLE OF CONTENTS. 



ADULT'S GARMENTS 103 

Drawers, Illustrated 103 

Drawers' Band, Illustrated 104 

Underskirt, Illustrated 106 

Yoke for Underskirt, Illustrated 108 

Nightgown, Illustrated 110 

Nightgown Sleeve, Illustrated 115 

Chemise, Illustrated .' 117 

Corset Cover, Illustrated 121 

Seamless Corset Cover, Illustrated 126 

Combination Suit, Illustrated 128, 129 

Shirt Waist, Illustrated 132, 133 

Shirt Waist Sleeve, Illustrated 137 

Table of Measurements for Five Gore Dress Skirt 140 

Dress Skirt, Illustrated 141-143 

Furnishings for Skirt 149 

Plain Waist, Illustrated 150 

Collar 156 

Plain Sleeve, Illustrated 157 

Furnishings for Waist 161 

Waist with a French Bias Dart, Illustrated 162 

Princess, Illustrated 167 

Jacket Illustrated 173 

Jacket Collar 178 

Jacket Sleeve, Illustrated 179 



14 TABLE OP CONTENTS. 

CHILDREN'S GARMENTS 78 

Drawers, Illustrated 78 

Drawers' Band, Illustrated 79 

Nightgown, Illustrated 80 

Nightgown Sleeve, Illustrated 83 

Apron, Illustrated 85 

Waist, Illustrated 88 

Sleeve, Illustrated 91 

Collar 92 

Boy's Sailor Waist, Illustrated 93 

Collar and Band 96 

Blouse Sleeve, Ilustrated 97 

Boy's Pants, Illustrated 99 

CLOTH 30 

COTTON 17 

Width of Muslins 18 

Cotton Dress Materials 19 

DARNING • 58 

Three-cornered Darn, Illustrated 59 

Stockinet Darning, Illustrated 59, 60 

Linen Darning, Illustrated 61 

Stockinet Web Stitch, Illustrated 62 

DOLL'S GARMENTS, Illustrated 73 

Drawers 73 

Skirt 74 

Table of Measurements 74 

Chemise 76 

DRESS 181 

FACTS WORTH REMEMBERING 185 

Mercerized Cotton 185 

Linen 185 

Damask 185 

Selvedges 185 

Skirt Braids 185 



TABLE OF CONTENTS. IS 

Haircloth 185 

Pressing Seams' 186 

Mending Gloves 186 

Sewing Machine 186 

FASTENINGS 63 

Buttonholes, Illustrated 64 

Buttons, Illustrated 65, 66 

Hooks and Eyes, Illustrated 67 

Loops, Illustrated 68 

Eyelets, Illustrated 68 

GATHERING, Illustrated 52 

GAUGING 53 

GUSSETS, Illustrated 54 

HEMS 46 

Faced Hem 47 

Extension Hem 48 

Rolled Hem, Illustrated 48 

Hemstitch Hem, Illustrated 48 

French Hem 49 

Blind Hem 50 

Slip-stitch Hem 50 

LINEN 25 

Width of Linen Fabrics 26 

Linen Dress Materials 26 

MITERED CORNER, Illustrated. 51 

PATCHING 56 

Overhand Patch, Illustrated 57 

Hemmed Patch, Illustrated 57 

Flannel Patch 58 

PLACKETS 53 

SEAMS 45 

French Seam 45 



16 TABLE OF CONTENTS. 

Dorothy Seam 45 

Felled Seam, Illustrated 45 

Hemmed Seam 46 

SEWING ON OF TAPES, Illustrated 55 

SILK 27 

Silk Dress Materials 29 

STITCHES, Illustrated on Canvas 37 

Running Stitches 38 

Basting Stitches, Illustrated 38, 39 

Backstitch, Illustrated ■ 40 

Half-back Stitch 40 

Overcast Stitch, Illustrated 40 

Overhand Stitch, Illustrated 41 

Catstitch 41 

Chain Stitch, Illustrated 42 

Feather Stitch, Illustrated 43 

Loop Stitch 43 

French Knots, Illustrated 44 

TAKING MEASURES, Illustrated 69 

Waist Measurement 69 

Sleeve Measurement 70 

Shirt Waist and Nightgown Sleeves 71 

THE SEWING BASKET 31 

Shears 31 

Needles 32 

Thread 33 

Thimbles 34 

Emery : 34 

Pins 35 

Beeswax and Tapeline 35 

WOOL 20 

Woolen Dress Materials 23 



COTTOK 

The cotton plant is now cultivated on plantations all 
ever the world within the limits of 36 degrees north 
and south of the equator. All the species are perennial, 
and grow somewhat shrubby; but in cultivation they 
are usually treated as annuals, the seed being sown 
early in the spring, the plants beginning to bloom in 
June. The leaves grow alternate, and the flowers, 
which are large and yellow, become a clear pink on 
the second day. After the flower falls the seed pod 
grows quite rapidly. When ripe it bursts open, dis- 
closing three or five cells filled with numerous black 
seeds covered with a beautiful, white fibrous substance. 
This is cotton, ready for picking, which is done either 
by hand or by machine. 

The cotton of commerce is procured from the sea- 
island and the upland cotton, so called because the one 
grows on the islands near the coast of the southern 
United States, and the other on the uplands of the 
southern states. The sea-island cotton has a fine, soft, 
silky staple, or fibre, nearly two inches long. The up- 
land cotton, because of its short fibre, is commonly 
called "short staple" cotton. As the commercial value 
of the cotton depends upon the length and tenacity of 
the fibre, the sea-island cotton is the most valuable. 
As an article of commerce it exceeds all other staples 
in importance. Great Britain uses more of the raw 



18 SEWING AND GARMENT DRAFTING. 

material than any other country. The United States 
ranks second, and France third. The manufacture 
of cloth from cotton dates back to a very early period, 
and it has always been the clothing material of a large 
portion of the human race. Cotton cloth was original- 
ly obtained in Europe from India, a country always 
famous for the excellence and fineness of its cotton 
fabrics. In the early part of the eighteenth century 
it was thought that the importation of cotton fabrics 
into England interfered with the home manufacture 
of woolens and linens; hence, in 1721, not only was 
the importation of cotton cloths prohibited, but those 
who sold and wore them were fined. During the pres- 
ent century an immense industry in the manufacture 
of cotton in cloth has been established in England and 
the United States. 

The machinery used in t.he making of cotton fabrics 
is practically the same as that used in the manufacture 
of woolen materials. 

WIDTHS OF MUSLINS. 

Long cloth 36 inches 

Lonsdale cambric 36 inches 

Berkeley cambric 3G inches 

Pride of the West muslin 36 to 45 inches 

Alpine Rose Muslin 36 inches 

Heavy Muslins. 

New York Mills 36 inches 

Wamsutta 36 inches 

Utica 36 inches 



SEWING AND GARMENT DRAFTING. 19 

Medium. 

Masonville 36 inches 

Fine. 

Fern 36 inches 

COTTOX DEESS MATEBIALS. 

Batiste closely resembles lawn, except in the finish, 
which is" more wiry. 

Cambric in cotton is an imitation of linen cambric. 
It is usually white, printed with small designs. 

Chambray is woven like zephyr, except that it is 
stronger and thicker. 

Crepon is a fabric woven in cotton, in imitation of 
the wool and silk crepons. 

Dimity is a thin material corded with a fine cord, 
either lengthwise or in checks. It comes in white and 
colors, and is commonly used for summer dresses. 

Flannelette is a cotton fabric woven and finished in 
imitation of flannel. The nap is thicker than on flan- 
nel. 

Galatea is a strong, heavy cotton material (usually 
striped), used for boys' summer suits and dress skirts. 

Gingham is a smooth fabric, usually woven in checks. 
The yarn is dyed before weaving, so that the cloth is 
alike on both sides. The warp and woof are of the 
same size. 

Lawn is a cotton imitation of linen lawn, which it 
resembles, except in the finish, which is more soft. 

Muslin is a fine, thin cotton fabric, always woven 



20 SEWING AND GARMENT DRAFTING. 

plain, and generally made only in white. Book mus- 
lin, mull, Swiss muslin, Victoria lawn and Madras 
muslin are all muslins with slight variations in the 
thickness or finish. 

Pique is a firm cotton fabric, originally made with 
a cord running from selvedge to selvedge. Many fancy 
weaves of the same material are now made. Cotton 
Bedford Cord and Marseilles closely resemble pique 
and are often mistaken for it. 

Print is a standard cotton fabric with the pattern 
stamped or printed on the right side only. 

Sateen is a cotton fabric woven in imitation of satin. 
It comes in light weight for dresses, in a heavy, mer- 
cerized quality for underskirts and linings. 

Tissue is a very thin fabric woven like gingham. In 
the checks each color is usually separated from the join- 
ing one by a fine cord. 

Zephyr is a weave of gingham, and can be distin- 
guished from it by its finer, more silky appearance, and 
by the warp being coarser than the woof, thus causing 
the check to be uneven. 

WOOL. 

Wool is a variety of hair, or fleece, which is shorn 
from sheep, the angora, alpaca and cashmere goats, and 
furnishes the most important material for clothing in 
all cold and temperate climates. Wool is always more 
or less wavy, and under the microscope is seen to be 
covered with scales overlying each other. These con- 
ditions of the wool are what cause the fibres to retain 



SEWING AND GARMENT DRAFTING. 21 

their twisted state after being spun. When wool is 
shorn from the sheep it is divided into two classes, short 
or carding wool, which seldom exceeds a length of three 
or four inches; and long, or combing wool, varying in 
length from four to eight inches. Each of these classes 
is subdivided into a variety of sorts, according to the 
fineness and soundness of the staple or fibre. The finest 
wools are usually of a short fibre. By combing, some 
of the scales are removed from the wool, and it is bet- 
ter adapted for the manufacture of light fabrics. Yarn 
made from this wool is called "worsted," and the cloths, 
"worsted goods." The finest carding wools were for- 
merly obtained from Spain, from the Merino sheep ; but 
as this class of sheep is now raised in Australia, 'North 
and South America, and South Africa, it is more easily 
obtained and less expensive than formerly. Wool is 
the most important of all animal substances used in 
manufacture, and ranks next to cotton as a raw material 
for textile fabrics. 

The spinning and weaving of wool into cloth dates 
back to very ancient times. At the time of the Mace- 
donian Conquest (336 B. C), we read that the natives 
of India wore shawls of great beauty. The Greeks 
learned the manufacture of woolen fabrics from the 
Egyptians ; the Romans from the Greeks ; and the Brit- 
ons derived their knowledge of the art from the Romans 
soon after the Roman Conquest. The English improved 
upon the methods previously known until the knowledge 
has become general throughout the world. It is diffi- 



22 JEWING AND GARMENT DRAFTING. 

cult to decide which country produces the best fabrics 
at the present day, so great is the competition. 

The manufacture of wool into cloth is a very inter- 
esting process. After the sheep are washed and sheared 
the wool is sorted, the carding wools being separated 
from the combing wools. When sorted, the wool is 
thoroughly beaten, not only to remove all dust and 
other impurities, but to open the fibres and render the 
material softer and more pliable. The wool is then 
scoured ; that is, dipped in an alkaline dye, which, with 
the natural grease in the fleece, forms a soap and cleans 
the wool thoroughly. The more gently and uniformly 
the wool is then dried the better the result. But after 
being dried the wool is still found to contain matted 
locks, dust, sarid, and other impurities, which must 
be removed. This is done by passing the wool through 
a "teasing" or "willowing" machine. After being 
sprinkled with olive oil, to make it soft and pliable, 
the wool is carded. Any remaining sticks or lumps are 
removed and the fibres separated, and then interlaced 
with each other, coming out in the form of a loose rope 
called "sliver." This rope is passed through a gilling 
machine several times until the fibres are leveled and 
brought evenly together. The wool is next drawn out 
into a soft, weak thread, preparatory to spinning. If 
the fabric is to be yarn dyed, it is done at this time ; 
and then the yarn is woven into cloth. The process 
of cleansing, scouring, and pressing the fabric is called 
"fulling." The cloth is soaked in hot, soapy water, 
then pressed and rubbed between the rollers of the mill- 



SEWING AND GARMENT DRAFTING. 23 

ing machine. On being taken from the machine the 
cloth is stretched uniformly in all directions by hooks 
on a frame, that it may dry without a wrinkle or curl. 
The nap is then raised by passing the cloth before cyl- 
inders, on the face of which "teasel" has been arranged. 
The pile is then trimmed to produce a uniform surface, 
and the cloth passed between steam rollers, to give it a 
smooth, glossy finish. The cloth is then folded ready 
for the dealer. 

WOOLEN DRESS MATERIALS. 

The woolen dress materials most in demand are of 
two kinds, either plain dyed fabrics or those of mixed 
yarn effects. Of the former Broadcloths are in the 
lead. Like all plain dyed goods, they are made in the 
gray and dyed to any color required. Broadcloth is an 
all-wool fabric, with a twill back and a finished sur- 
face. The nap is worked out of the body of the cloth by 
a process of carding or teaseling; it, is then sheared by 
passing through a machine which cuts the nap down, 
after which it is brushed with stiff brushes, giving it 
the luster and finish peculiar to a broadcloth. Veneti- 
ans are finished in a similar way, but usually with less 
finish than a broadcloth, and with the twill on the face 
side. 

Prunella is a very desirable dress fabric, being light- 
er in weight and handsomer in finish than either of the 
cloths previously described ; but like them it is made in 
the gray and dyed to the desired color afterwards. Pru- 



24 SEWING AND GARMENT DRAFTING. 

nella has a perfectly smooth surface of very high finish, 
and made with a twill or cord on the face side. Broad- 
cloths, Venetians and Prunellas are made in this coun- 
try, but the older countries, Germany, France and Eng- 
land, excel in the construction and finish of these, as 
they do in all other fine wool fabrics. 

Serges are smooth, hard finished, twilled fabrics, and 
are nearly always alike on both sides. 

Cheviots are made like serges, but are of a slightly 
different yarn and with a crisp, rough finish. 

Cravenette is a name applied to the finish which can 
be put on any all-wool fabric. It is a process of dyeing 
or finishing which renders the cloth proof against mois- 
ture. It is made waterproof without closing the pores 
of the cloth, thus rendering it cooler and more comfort- 
able for the wearer than gossamer. The process was 
discovered and patented by an Englishman, Craven by 
name, hence the name Cravenette. There are numerous 
imitations, both in this country and abroad, but none 
compare with the original. 

Of the second class, or mixed yarn fabrics, Covert 
Cloths have the first place. They are heavy in weight 
and are brought out in grays, Oxford or black gray mix- 
tures, castors, browns and blues. With a smooth twill 
face, which shows plainly and are most desirable in col- 
ors in the order given. 

Heavy weight mixed yarn Cheviots are also very 
desirable in the same colors as Covert Cloths. 

Ziboline is a soft twisted yarn fabric, with a long, 



SEWING AND GARMENT DRAFTING. 25 

smooth, hairy surface. It is made of long fibre, coarse 
wools, and then passed over the teasels, a nap is drawn 
from the body of the cloth which, when brushed, pro- 
duces a surface like fur. 

LIKEK 

Linen thread and cloth are made wholly from the 
fibre of flax or lint. The principal fabrics included in 
the term "linen" are lawn, cambric, batiste, damask, 
etc. In France and The Netherlands the manufacture 
of linen has reached its greatest perfection. The stim- 
ulus to produce fine yarns for the lace makers has 
caused so much care and attention to be given to the 
cultivation and preparation of flax in these countries 
that in point of fineness of fibre their product is un- 
equaled by that of any other country. The common 
flax is an annual, and grows two or three feet high, 
branching near the top, and having beautiful blue flow- 
ers. The plant is highly valuable, both for the fibres 
of its inner bark and for its seeds. ISTo plant not yield- 
ing food is more useful to man. Flax is a native of 
Egypt, and has been cultivated from the earliest times. 
It is mentioned in the Book of Exodus as one of the 
productions of Egypt in the time of the Pharaohs. The 
wonderful durability of the linen made by the Egypt- 
ians is proven by its existence on mummies, some dis- 
coveries showing the linen to have been woven over 
1,700 years. From the time of these ancient Egyptians 
to the present time the use of linen for clothing and 
other purposes has been continuous. 



26 SEWING AND GARMENT DRAFTING. 

Linen was first manufactured in England in 1253. 
As late as 1870 there were only ten establishments for 
the manufacture of linen fabrics. Five more were 
established before 1880. When the manufacture of 
cotton fabrics was introduced, the manufacture of linen 
fabrics was retarded ; but it has increased so materially 
within the past few years that it has regained, if not 
exceeded, its former proportions. Flax is cultivated in 
the United States more for the seed than the fibre. The 
process of the manufacture of linen fabrics is similar to 
that of cotton and wool fabrics. 

WIDTH OF LINEN FABRICS. 

Linen sheeting 72 to 108 inches 

Pillow case linen 36 to 54 inches 

Household linen 36 to 45 inches 

Art linen 36 to 45 inches 

Shirt bosom linen 36 inches 

Surplice linen 36 to 45 inches 

Dress linens 27 to 36 inches 

Linen cambric 24 and 36 inches 

Linen lawn 24 and 36 inches 

Handkerchief linen 24 and 36 inches 

Table linen 54 to 108 inches 

Circular tablecloths 2 1-2x2 1-2 yards 

Circular tablecloths 3x3 yards 

Napkins 18x18 to 27x27 inches 

LINEN DRESS MATERIALS. 

Cambric is an extremely fine white linen woven from 



SEWING AND GARMENT DRAFTING. 27 

very fine yarn. It is generally used for pocket hand- 
kerchiefs. 

Lawn is a very thin linen, having a softer finish than 
the cambric. 

Holland is a linen fabric first manufactured in Hol- 
land. It is fine, thin, and the threads are flat. It is 
generally made in a drab or light brown color. The 
colored linens have become more popular, as they come 
in both plain and fancy weaves. 

SILK. 

Silk is a fine, soft thread spun by the silk worm. 
The manufacture of silk appears not to have been well 
known to the ancients. Among the Greeks, Aristotle 
was the first to mention it in his writings. Evidence 
collected would tend to show that the manufacture of 
silk fabrics originated in China, in which country the 
cultivation of silk is of the greatest antiquity. Accord- 
ing to Chinese authorities, silk worms were raised by 
the wife of the emperor two thousand six hundred years 
B. C. The cultivation of silk has become one of the 
great industries of Italy, Turkey and Greece. Some 
efforts have been made to raise the silk worm in Eng- 
land, but with only partial success, for it requires a 
warmer and less variable climate. And yet the quantity 
of silk raised in the world is enormous, considering that 
it requires one thousand six hundred worms to produce 
"a pound of silk. Only a brief outline of the cultivation 
of silk and its manufacture can be given here, but a fur- 



28 SEWING AND GARMENT DRAFTING. 

ther study of the subject will prove most interesting. 
The moth from which silk is produced is about an inch 
in length, of a whitish color, with a broad, pale brown 
bar across its upper wings. The caterpillar, which at 
first is not more than a quarter of an inch in length, rap- 
idly increases in size until, when full grown, it is nearly 
three inches long, and of a yellowish gray color. The 
eggs are numerous and about the size of a pin head. In 
tropical countries the eggs hatch readily from the na- 
tural heat, but in temperate climates artificial heat is 
used. At one time cultivators resorted to the novel 
practice of wearing a little bag containing the eggs next 
their person. The worms are usually raised in build- 
ings especially prepared for them, and fed on leaves 
gathered from day to day. It is of the greatest import- 
ance in the production of silk that one of the species of 
the mulberry be cultivated, and that the foliage should 
be just right to feed the worms when they are first 
hatched. Great care is taken in feeding to have the 
leaves evenly distributed, so that the worms will not 
crowd together. To prevent the stronger insects from 
depriving the younger ones of food, those of an age are 
kept together. 

Different devices are used upon which the worm 
spins its cocoon. When completed they are carefully 
sorted, and placed in an oven to kill the enclosed chrysa- 
lis. The cocoons are then placed in warm water to 
soften and dissolve the glue, which causes the various 
coils of silk to adhere to each other. Several of the 



SEWING AND GARMENT DRAFTING. 29 

loosened ends are twisted together in the fingers into 
one thread, and passed into the reeling machine. Each 
cocoon generally yields three hundred yards of thread ; 
so that it takes from one thousand two hundred to one 
thousand five hundred yards to make three hundred 
yards of the "filament of raw silk," as the reeled silk 
is called. The silk is not yet ready for the weavery 
but goes through several processes before it is properly 
cleaned, twisted, and strong enough. 

Of textile fabrics silk is the strongest, most lustrous, 
and most valuable. The first silk mill in the United 
States was established at Mansfield, Conn., in 1810. 
Many other factories were started, most of them still 
surviving. One of the best known was at Patterson, 
!N~. J., and that town became, and has since remained, 
the chief seat of silk manufacture in the United States. 

SILK DRESS MATERIALS. 

Brocade is a silk with a pattern on a satin ground. 
It is not woven double except through the figures. The 
patterns are similar to those used in damask. 

Corded Silk is similar to gros grain, except that the 
cord is rounder and varies in thickness from a very fine 
to a very coarse cord. 

Faille Francaise is also very much like gros grain ; 
but is brighter and much softer. 

Gros Grain is a firm, rather dull silk, woven with a 
flat cord from selvedge to selvedge. 

Grenadine is a silk net or gauze, sometimes woven 



30 SEWING AND GARMENT DRAFTING. 

plain, but more often striped or with a pattern woven 
in it. 

Ottoman is a thick corded silk, used more for wraps 
than dresses. It is corded with one thick, bright cord 
each side of two or three fine cords. The name "Otto- 
man" is applied not only to silks corded thus, but also 
to other materials. 

Surah Silk is a soft, bright, thin silk, twilled on both 
sides. 

Satin has a soft, glossy finish on the right side. This 
result is obtained by one thread of the warp being taken 
up and four left on the surface. 

Taffeta is a smooth, firm silk, alike on both sides. It 
is thick and lustrous, and is used not only for dresses, 
but also for linings and underskirts. 

Wash Silks are those which can be washed without 
injury. The foulard is a soft, twilled wash silk. It is 
printed in colored designs. The China and India silks 
are smooth, plain wash silks with a soft finish. The 
China and India silks are often mistaken for each oth- 
er, but the China feels softer to the touch than the 
India. The Pongee is an inferior kind of India silk, 
and comes only in the natural color. 

CLOTH. 

Cloth is a fabric woven of cotton, wool, linen, or silk. 
The threads of the cloth are called the "warp" and the 
"woof." Those running lengthwise are the warp, and 
the crosswise threads, the woof. The warp is stronger 



SEWING AND GARMENT DRAFTING. 31 

than the woof. Cloth is woven straight. It is some- 
times drawn out of shape in pressing, but it can be 
straightened by stretching it on the bias. When the 
thread can be ravelled either lengthwise or crosswise 
of the cloth it is straight, or will become so after it has 
been laundered. The raw edge is the edge that is cut 
or torn. A fold is made by doubling one part of the 
cloth over another. ISTap is the shaggy substance on the 
surface of the cloth. 

THE SEWING BASKET. 

The sewing basket, which is often used as a catch-all, 
is very essential to the seamstress, since it is a receptacle 
for the implements she uses in sewing, — her shears, 
needles, thread, thimble, emery-bag, pins, beeswax, and 
tape line. 

The art of sewing is one of the oldest in existence, 
but as civilization and refinement have progressed the 
texture of raiment has become finer, the construction 
more intricate, and the implements necessary t.o fashion 
them have also improved in quality. We find, in gar- 
ment making, as in any other kind of work, that our 
success depends largely upon the implements used in 
preparing the work and the manner in which they are 
used. 

Shears: — The first thing needed is a suitable pair of 
shears, so that the garment may be cut properly. Bent 
shears are the best for cutting heavy material, as they 
are so shaped as to raise the cloth as little as possible 



32 SEWING AND GARMENT DRAFTING. 

from the table, and thuo prevent any slipping of the 
under layer of the material. In choosing a pair of 
shears select those with long, sharp blades. If less 
than six inches long they are scissors. They should 
never be so tightly joined that any resistance will be 
noticeable when opening and closing them. The shears 
should be kept properly sharpened so that in cutting a 
garment the cut edges will be even, clear cut, and smooth 
and thus aid the seamstress to baste and sew the seams 
evenly. Avoid dropping the shears or scissors upon the 
floor, as the concussion they sustain often loosens their 
adjustment, and they cause uneven cutting. 

Needles: — The implement next in importance in the 
sewing basket is the needle. It is the one that has been 
in use the longest, having been used by the women of 
every country, in every age. In earliest times needles 
were made of fish bones and of ivory. In the Egyptian 
tombs needles of bronze have been found. Steel needles 
originated in Spain, and during the reign of Queen 
Elizabeth they were introduced into England, in which 
country they are now almost exclusively manufactured. 
The common sewing needle is made from steel wire, 
and, although simple in form, it passes through the 
hands of a hundred workmen before completion. 
Xeedles are of various sizes and kinds. There are 
those for sewing straw, for darning, for the milliner's 
use, and for plain sewing. The needle best adapted to 
the kind of work in which it i- to be used should always 
be chosen. Those used for plain sewing are Sharps, 



SEWING AND GARMENT DRAFTING. 33 

Ground-downs, and Betweens, ranging in size from No. 
1 to No. 12, the latter being the finest. Sharps are long 
needles. Ground-downs are shorter, and are excellent 
for school use, as they do not bend or break easily. Be- 
tweens are short needles, and are used for heavy work. 
Each paper contains twenty-five needles. In a package 
numbered 5 to 10, there are three No. 5 needles in the 
middle, which should be used only with very coarse 
thread. The needles on each side are alike, and the two 
next to the middle are No. 6, used for sewing on coarse 
materials. Next are the three No. 7 and three No. 8, 
for stitching, basting, gathering, and sewing on but- 
tons. Then there are two No. 9, for hemming on cotton 
cloth. The last one is a No. 10, for very fine work. 
The amateur seamstress often makes the mistake of 
using too coarse needles and thread, thus interfering 
with neatness in her work. To determine the size 
needle to use, select thread the same size as the threads 
in the material on which it is to be used ; then use the 
needle a trifle larger than the thread. A bent needle 
should never be used, as it makes uneven stitches and 
renders it more difficult to keep the line of stitching 
straight. 

Thread : — Thread is a twist made from flax, silk, cot- 
ton or wool. When cotton thread was first made, eight 
hundred and forty yards of it weighed one pound. This 
was called "No 1 . 1" and if a pound contained just twice 
this number of yards it was called "No. 2," and so on. 
The manufacture of white sewing thread, known as 



34 SEWING AND GARMENT DRAFTING. 

"ounce thread," was begun about 1750, in Scotland. 
Later it was introduced into England. The invention 
of the sewing machine demanded a smoother and finer 
thread, so that a six-cord thread was made instead of a 
three-cord, the size remaining the same. The largest 
thread factories are in Scotland, although there are 
some large factories in America. The sea-island cotton 
is used principally in the manufacture of cotton thread. 
Linen and cotton thread are numbered with figures. 
The finer the thread the higher the number. Silk 
thread is numbered with letters. Thread must be chosen 
to suit the material to be sewn, and should always be 
cut, not broken. 

Thimbles: — The implement next in importance is the 
thimble. The first one seen in England was made in 
London about two hundred years ago, by a metal work- 
er named John Lofting. At first it was worn on the 
thumb, and was called a "thumb bell," from the Scotch 
word "thummel." Lofting manufactured thimbles of 
both iron and brass, many specimens of which are still 
preserved as heirlooms. Gold, silver, iron, ivory, steel, 
pearl, celluloid, and sometimes glass, are utilized in 
making thimbles at the present time. In manufactur- 
ing metal thimbles a thin piece about the size of a half 
dollar is cut from sheet metal and then pressed into 
shape and indented. Celluloid is molded. The best 
thimbles are said to be made in France. In China, the 
ladies of high degree use very dainty thimbles. Some 
are carved from enormous pearls, with bands of fine 



SEWING AND GARMENT DRAFTING. 35 

gold, on which are etchings, which serve to catch the 
needle as do the holes in our thimbles. These thimbles 
always have a mother of pearl case. 

Emery: — The emery ball is an important adjunct to 
the sewing basket, though often omitted. Its frequent 
use renders the needle more pliable and the work neater. 
The emery with which it is filled is a variety of corun- 
dum found in various parts of Europe, Asia Minor, 
Greenland, the Island of IsTaxos, and in several parts of 
America. It is sometimes of a Grayish black, and some- 
times of a bluish color. It is generally found in a 
massive form, and is prepared for use by breaking it 
into small lumps, then crushing these into powder. The 
emery of commerce is obtained chiefly from the' Island 
of ISTaxos. 

Pins : — A paper of pins or a small pin cushion is also 
essential to the furnishing of the sewing basket, and 
should be selected with care. The thick, dull-pointed 
pin is injurious to fine materials, as it not only makes 
large holes, but draws threads. The fine, sharp-point- 
ed, English pin is the most desirable made. Pins have 
been in use since the latter part of the fifteenth cen- 
tury. At first they were made from iron wire, which 
was later substituted by brass wire. Like the needle, 
this small article requires a vast amount of labor in the 
making. A paper of pins contains three hundred and 
sixty pins. 

Beeswax and Tape Line: — In fitting up a sewing 
basket a cake of beeswax and a tape line should not be 



36 SEWING AND GARMENT DRAFTING. 

omitted. Thread properly waxed not only keeps from 
knotting, but is more durable. A tape line should be 
sixty inches long and contain the eighths of inches. In 
selecting a tape line choose a cloth, stitched on both 
sides, finished with brass ends. It is perhaps needless 
to add that the sewing basket of the true gentlewoman 
is always neat and in order. 



SEWING AND GARMENT DRAFTING. 37 

STITCHES. 

Needlework is very interesting, especially to young 
children, and it is important that much attention be 
given to details of education, which, if carefully passed 




over, may prove almost incurable in after years. Great 
care should be taken in teaching a pupil the stitches. 
In sewing, as in embroidery, the beauty of the work 



38 SEWING AND GARMENT DRAFTING. 

depends largely upon the evenness and smoothness of 
the stiches. Those that are irregular should be re- 
moved and more perfect ones substituted, thus training 
the eye as well as the fingers to be accurate. The 
needle and thread should correspond in size to the qual- 
ity of the material upon which it is to be used. The 
thread, which should not be longer than the length of 
the arm, should pass between the middle and fourth 
fingers of the right hand when drawn up from the work, 
thus making the stitches draw more evenly. 




Running Stitches: — Running is composed of small 
basting stitches of equal size. The needle should be a 
little larger than the thread, and the thread the size of 
the thread of the material. Running is used in plain 
seams that do not require great strength, as for joining 
light materials, gathering, making tucks and pleats, and 
also in making cord. Several rows are used in darn- 
ing, strengthening worn materials, and for quilting. 
In running use as free wrist motion as possible, and 
take as many stitches on the needle at a time as is prac- 
ticable. 

Basting Stitches: — Basting is light stitching, which 



SEWING AND GARMENT DRAFTING. 39 

is used as a guide for sewing and to keep two pieces of 
cloth in exact relation to each other. Never sew with- 
out first basting. The knot should not he concealed in 
basting, but should be on the right side of the work, 
The thread should be fastened by taking two stitches in 
the same place over each other. In basting for ma- 



chine sewing, the stitches may be longer than for hand 
sewing. Uniformity in length of stitches and straight- 
ness of line in basting are of the utmost importance. 
The stitching should never run into or across the bast- 
ing thread, so that in removing the basting the line of 
stitching may not be broken. Always cut the bastings 
at short intervals, that they may be taken out easily. 
Regular basting stich, one-eighth by one-eighth of an 
inch, should be used in basting seams that are subject 
to any strain, as in fitting a waist. Eegular basting 
stitch, one-eighth by one-fourth of an inch, is used in 



40 SEWING AND GARMENT DRAFTING. 

basting for over-handing and machine sewing. Foi 
overhanding, baste one-eighth of an inch from the edge, 
whether selvedge or crease, as the edges need to be 
held firmly together. In basting a hem, take one stitch 
at a time, and be snre both folds of the hem are held 
in place. Use one-eighth by one-half inch basting stitch. 
A basting stitch one-eighth by three-fourths of an inch 
is used for basting seams in skirts, and the crosswise 
basting is used in basting material on a lining. 



Backstitch: — Backstitching is a method of sewing by 
which the stitches are taken backward ; the needle en- 
tering the material adjoining the preceding stitch, and 
coming out so that the stitch on the under side is twice 
the length of the upper. In fine needlework it is used 
instead of machine sewing in all places requiring 
strength. 

Half Backstitch: — Half back stitching is the same as 
backstitching, except that the needle is put only half 
way back to the preceding stitch, thus leaving a space 
between the stitches. It is used in sewing on gathers. 

Overcast Stitch: — Overcasting is a diagonal stitch 
taken loosely through and over two raw edges of cloth 



SEWING AND GARMENT DRAFTING. 41 

to keep them from raveling. It is worked from left to 
right. To make the stitches uniform the distance be- 
tween them and the depth of each should be the same. 
Before overcasting a seam remove the basting threads 
and trim the edges evenly. It is very difficult to learn 
to overcast nicely. 




Overhand Stitch: — Overhanding is a method of sew- 
ing together either two selvedge edges or two creased 
folds of cloth. The stitches are taken over the edges, 
working from right to left. Care should be taken that 
the stitches be of the same slant, not too far apart, and 
not too deep. If the stitches are drawn too tight, a 
ridge, which should be avoided, will be formed. The 
threads of the warp and woof should correspond ex- 
actly in the two pieces joined. In joining material that 
has a pattern on it, great care should be exercised to 
see that the design is perfectly carried out. 

Catstitch: — A catstitch is a crosstitch worked from 
one, holding the material over the left forefinger. 
Bring the needle up through the material ; find the re- 
quired width and slant of the stitch, and put the needle 
down through the material, taking a short stitch from 



42 SEWING AND GARMENT DRAFTING. 

side to side with the needle pointing to the left. Bring 
the next thread down at right angles to the first and 
take a stitch to the left as before. Care must be taken 
to space the stitches evenly and make them of the same 
length on either side. This stitch is sometimes called 
"herringbone," and is used to catch open the seams of 
flannels, in patching flannel and on raw edged hems, 
to avoid the ridge formed by folding the edge. It is as 
useful as it is simple. 




Chain Stitch: — Chain stitching is a method of em- 
broidering often used for outlining patterns. It is 
worked towards one. Bring the needle and thread up 
through to the right side of the material. Put it down 
again at the right of the point where the thread leaves 
the cloth, and bring the point of the needle up a little 
in advance. Pass the thread under the point of the 
needle from left to right and draw the needle through. 
Insert the needle again just beside the thread as it leaves 



SEWING AND GARMENT DRAFTING. 43 

the material and inside the loop, and the same stitch is 
repeated. The result is a series of stitches resembling 
the links of a chain. The stitches should be uniform, 
and not drawn too tightly. 

Feather Stitch: — Feather stitch, or brier stitch, is 
often used in embroidery and fancy work, as well as in 
sewing. To make this stitch bring the needle and 
thread up through the material, which should be held 
over the left forefinger. Take a short, slanting stich, 
bringing the needle out over the thread, which is held 
down by the thumb. Take the second stitch on the op- 
posite side, pointing the needle towards the line on 
which you are working. Two or more stitches, instead 
of one, may be taken on each side. (See illustration.) 
This stitch is used extensively in finishing the seams, 
hems, and tucks of flannel garments. The beauty of 
feather stitching is in uniformity of the stitch. 

Loop Stitch: — Loop stitch is worked from left to 
right, holding the edge of the material towards one. 
To begin, run two or three stitches along the edge, 
worked so that the continuous line of stitches cover 
them. Hold the thread with the thumb of the left 
hand. Insert the needle an eighth of an inch from the 
edge of the material. Bring it down and over the 
thread, being careful that the thread lies loosely on 
the edge of the cloth. Fasten the thread on the wrong 
side of the work. To join the thread put the needle in 
under the last stitch, as at the beginning, and draw it 
out over the last stitch. Loop stitch is used to secure 



SEWING AND GARMENT DRAFTING. 



and ornament the edges of woolen materials. It is also 
used for working the edges of doilies, by making the 
stitches close together. Several rows are used in honey- 
combing and fancy German stitches. 

French Knots: — To form a French knot, draw the 
needle and thread through to the upper side of the 
fabric, and take one short backstitch. Without draw- 
ing the needle through, take the two threads at the eye 
of the needle, and bring them around from right to left, 
casting one or more stitches on the needle, according to 
the size desired. Draw the needle through, holding 




the stitches firmly with the thumb of the left hand. 
Put the needle back through the material at the same 
point at which it was brought up. Several knots can be 
made without fastening the thread. Another method 
of making a French knot is to draw the needle and 
thread through to the upper side of the material. Hold 
the needle in the right hand, and with the left take hold 
of the thread near the cloth and twist the needle around 
the thread three or four times. Then put the needle 
down through the fabric close to the point at which it 
was brought up. Hold the thread firmly near the cloth 
so that it may not untwist or knot while being drawn 



SEWING AND GARMENT DRAFTING. 45 

through. The size of the knot depends upon the num- 
ber of times the thread is wound around the needle. 
Trench knots are used chiefly in embroidery work, but 
they also make very effective trimming on waists or 
children's clothes. 

SEAMS. 

A seam is the joining line formed by sewing 
or stitching together two pieces of cloth. 

French Seam: — A French seam is one that is first 
stitched on the right side as near the edge as possible. 
Then the material is turned, and the second stitching 
is made on the wrong side, far enough below the first 
stitching so that the raw edge will not show on the 
right side. This seam is used on shirt waists, sleeves 
of underwear, and on thin materials that are not lined. 
This seam gives the inside of the garment a neat finish, 
and has a nicer effect than if the raw edges showed 
through the fabric. 

Dorothy Seam: — A Dorothy seam is made by cover- 
ing a seam with narrow ribbon or tape and hemming it 
down on both sides. It is used on flannel 'for infants. 

Felled Seam: — A felled seam is one that is hemmed 
down to strengthen it. It is made by first stitching the 
seam one-fourth of an inch from the edge, then trim- 
ming the side towards one, one-eighth of an inch. Told 
the untrimmed side over the cut side on the material 
and hem it down, making a flat seam. The felled seam 



46 SEWING AND GARMENT DRAFTING. 

is used on corset covers, drawers, and the side seams of 
night gowns. This seam is more easily laundered than 
the French seam. 



rv- ^ 



\ 



a. 



Hemmed Seam: — In making a hemmed seam, place 
two pieces of material overlapping each other about 
one-fourth of an inch. Baste through the center. Then 
crease and hem alike on both sides. This seam is used 
in making infants' flannels, in sewing loosely woven 
silks, and in all cases where raw edges are to be avoided 
and other seams may draw. 

HEMS. 
A hem is a fold made by creasing a piece of cloth and 
then sewing it down. Holding the material in both 
hands, turn down the edge one-eighth of an inch and 
crease the fold between the thumb and forefinger of 
the right hand. If the material is cut bias or likely to 
stretch, the fold may be creased by pleating in the ma- 
terial with t,he right hand. The second fold may then 
be creased the desired width, basted, and stitched. A 
narrow hem on stiff materials, as table linen, or a rolled 
hem, need not be basted. When basting a straight hem 
the seams or stripes should be matched exactly. Hems 



SEWING AND GARMENT DRAFTING. 47 

on elastic materials that are difficult to fold should be 
basted twice. First crease an eighth of an inch and 
baste on the fold. Then turn the hem the desired width 
and baste on the second fold. In hemming great care 
should be taken to always insert the needle at the same 
angle and take the same quantity of material upon the 
needle. The space between the stitches should also be 
the same. To join the thread, in hemming, leave the 
end of the thread in the fold of the hem, and fasten an- 
other thread by hiding the knot under the fold. Fasten 
the thread by taking two or three stitches over each 
other. Children should be taught to turn hems, prac- 
ticing first upon print or gingham. When sufficient 
skill has been acquired they may be given a piece of 
linen or other material to work on. Much of the neat- 
ness of hems depends upon the size of needle and thread 
used. If they are fine, better results will be obtained. 
Faced Hem: — A faced hem is made by sewing to the 
edge of a garment a piece of cloth the width of the de- 
sired hem. Turn up the piece on the line of stitches, 
baste, and sew as for a plain hem. If the seam is first 
pressed open the hem can be turned more evenly. This 
hem is used when the garment is not cut long enough to 
allow for a hem, or where a hem cannot be turned even- 
ly. It is a finish or protection to the edge of a gar- 
ment, and has the appearance of a hem. When the 
edge of a garment is turned up three-eighths of an 
inch and a bias piece of cloth is basted on and both 
edges hemmed down, it is called a facing and is said to 



48 



SEWING AND GARMENT DRAFTING. 



be "felled" on. This method of making a faced hem 
is used principally in finishing sleeves around the hand, 
and also the bottom of a basque. 

Extension Hem: — Cut a piece of cloth twice the 
width of the desired hem, and sew one edge on the gar- 
ment in a seam. Then crease the upper edge and 
baste on the wrong side, even with the seam, and sew 
down. This hem is used where there is not enough cloth 
to allow for a hem, or in a placket. 




Rolled Hem: — A rolled hem is a very narrow hem, 
made by rolling the edge of the material between the 
left forefinger and thumb, hemming as rolled, with e 
very fine needle and thread. This hem is used on 
ruffles of very fine material that arc to be edged with 
lace, or where a very narrow hem is required. 

Hemstitch Hem: — Hemstitching is one form of 
drawn work, and can be used with satisfactory results 
only upon material from which the threads can be 
readily drawn. Measure up from the edge of the ma- 
terial twice the width of the hem wanted, and with the 



SEWING AND GARMENT DRAFTING. 



49 



point of a needle pick out one of the coarser threads, 
removing it carefully with the right hand, so as not to 
break it. From four to six threads should "be drawn, 
according to the texture of the fabric. The chief diffi- 
culty is in drawing the first thread. Turn the hem, 
creasing the edge one-eighth of an inch, and baste it 
even with the threads first drawn. Fasten the thread 
in the hem at the left side, and pointing the needle 




towards you take up four or five cross-threads. Draw 
the needle through and take one stitch, as in ordinary 
hemming, being careful not to take the stitch too deep. 
Repeat this until the hem is completed. If both edges 
of the drawn threads are to be hemstitched, repeat the 
operation on the other side. Hemstitching is one of 
the most useful accomplishments of a needle worker. 
It is one of the daintiest methods of hemming fine ma- 
terials and one of the neatest methods of finishing the 
ends of towels, sheets and pillow slips. 

French Hem: — To make a French hem, first crease 
a narrow hem. Then, holding the wrong side towards 
you, fold the hem back and crease the material, so as 



50 SEWING AND GARMENT DRAFTING. 

to make it even with the hem. Overhand the folded 
edges together, being careful not to take the stitches too 
deep into the cloth. This hem is used in hemming table 
linen. 

Blind Hem: — A blind hem is turned and basted on 
the right side of the material, and hemmed so that the 
stitches do not show. Take up one or two threads of 
the material, and, before drawing the needle through, 
take up one-fourth of an inch of the fold. Continue in 
this manner, being careful not to draw the threads 
tightly. 

Slipstitch Hem: — For a slipstitch hem, take up one 
thread of the cloth; then of the fold a little farther 
ahead; then of the cloth; etc. Keep the stitches in 
line with the thread of the material, instead of diagon- 
ally, as in regular hemming. This hem is used on wool- 
en materials, where the stitches are not to show on the 
right side. It is often used in hemming silk or velvet. 



SEWING AND GARMENT DRAFTING. 



51 



MITERED CORKER. 

To miter a corner in needlework is to change the 
direction of a hem, straight band, or border by cutting 
it at an angle, so as to sacrifice a three-cornered piece. 
To make this hem cut off the corner one-eighth of an 




inch deep. Then, creasing the material each side of 
the cut corner one-eighth of an inch (see "Hems"), 
fold the hem the desired width. Open the hems and 
fold the corner towards you, creasing it one-eighth of 
an inch outside of the point where the creases of the 
hems meet. Cut off the corner on the crease. Then 
fold and baste the hem at the right of the bias edge. 
Fold and crease the bias edge one-eighth of an inch. 
Fold and baste the hem at the side, making the edge 
of the two hems meet at right angles. Hem the corner 
fold, taking the stitches through only one thickness of 
cloth. A mitered corner is used on heavy materials. 
"Miter" is a term derived from carpenter work. 



52 SEWING AND GARMENT DRAFTING. 

GATHERING. 

Gathering is composed of small running stitches, and 
the thread is drawn so as to full the material. Take 
as many stitches on the needle at a time as possible, 
using rapid wrist motion. Draw the stitches together 
on the needle, and fasten the thread by winding it over 
and under the eye and point of the needle. Then hold 




the gathers between the thumb and finger of the left 
hand, and with the other pull each gather in place. 
Unwind the thread and pull the needle through. Re- 
peat with each needleful. Gathering is used in all 
cases where a piece of material is required to fill a 
smaller space. The thread should be a little longer 
than the section to be gathered. Divide both the gath- 
ers and the plain material into halves or fourths. Place 
the marks together and sew the gathers in place with 
half backstitches, holding the gathers towards you. 
The size of the gathering stitches should vary with the 
quality and quantity of materia] to be put into the 
arranged space. 



SEWING AND GARMENT DRAFTING. 53 

GAUGING. 

Gauging is two rows of gathering with the stitches 
of the second row exactly below those of the first. 
Gather the first row one-fourth of an inch from the 
edge. Before drawing up the thread, put in the second 
row of stitches one-fourth of an inch below the one 
above it. Remove the needle and, taking hold of both 
threads near the cloth, gradually draw the gathers up 
to the required width. In heavy materials, and the 
backs of skirts, the stitches would be long. 

PLACKETS. 

A placket is an opening made in a garment. To 
make a placket for cotton garments cut an opening 
from eight to ten inches. Hem the right side one 
inch wide, and the left side with a narrow hem. Place 
the wide hem over the narrow one, and finish at the 
bottom with two rows of back stitching. To make a 
placket for woolen garments, cut the opening the same 
as for cotton garments. Cut a facing for the right side 
two and one-half inches wide and one-half inch longer 
than the opening. Fold over the right side of the 
placket one-fourth of an inch, and baste. The facing 
should then be basted on and both sides hemmed down. 
The left side should be made as an extension hem ; the 
piece to be put on being five inches wide and one-half 
inch longer than the opening. Finish at the bottom by 
hemming the left side under the right. 



54 



SEWING AND GARMENT DRAFTING. 



GUSSETS. 

A gusset is a small piece of cloth inserted in a gar- 
ment for the purpose of strengthening and enlarging an 
opening. One method of making a gusset is to cut a 
piece of cloth two inches square, crease each side one- 
eighth of an inch, fold so as to form a half square and 
baste. Beginning at the point, overhand it in the 




opening. This gusset is used for finishing the under- 
arm seams of shirts. Another gusset is made by cut- 
ting a piece of cloth two and one-half inches square, and 
creasing two adjoining sides one-eighth of an inch , then 
inserting the gusset in the opening, which has been 
hemmed so that at the end where the gusset is to be in- 
serted the hem is as fine as a rolled hem. Overhand 
both sides of the gusset one-half way up. Fold the gus- 
set over to the wrong side, and crease. Hold in place 
with the needle, so that the middle falls over the point 
of the gusset, and cut the square diagonally. Baste to 
the material and hem. (See illustration.) 



SEWING AND GARMENT DRAFTING. 



55 



The gusset can be made as large or as small as de- 
sired. This kind is used principally in plackets of 
drawers. 

SEWING ON OF TAPES. 

Sew the tape on the wrong side of the towel, placing 
the tape so that the raw edges will be towards the end. 
Stitch it down. Then, turning the tape back so as to 
cover the stitching, hem it down on each side. This 



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SEWING ON A TAPE. 



will prevent the ends from pulling off easily. A flat 
loop should be sewed on a jacket or skirt band. The 
ends of the tape should be carefully turned under and 
hemmed down, then a double row of stitching should 
be made across the tape about half an inch from the 
ends. For towels a cotton or linen tape should be 
used. Woolen or silk tape is best for jackets and 
dresses. 



56 



SEWING AND GARMENT DRAFTING. 



PATCHING. 

A patch is a piece of cloth sewed on a garment to re- 
pair it. All the worn part of the material which sur- 
rounds the rent should be cut away, either in a square 
or rectangular shape, until strong threads are found to 
support the new piece placed on it. In cutting, follow 





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OVERHAND PATCH. 



the threads of the material. Great care should be taken 
to have the warp and woof of the patch run the same 
as those of the garment. Patching should be done care- 
fully so as to be as nearly invisible as possible. Checks, 
stripes, and figured materials should always match, 
There are several ways of patching, the overhand and 
hem patching being used principally. The former is 
the neater patch, but the latter is the stronger. 



SEWING AND GARMENT DRAFTING. 



57 



Overhand Patch: — In an overhand patch cut the 
patch one inch larger than the hole. Cut the corners 
diagonally one-eighth of an inch. Then cut the corners 
of the hole one-eighth of an inch. Crease one edge of 
the patch and one edge where it is to be joined each one- 
fourth of an inch. Place the right sides together, hav- 
ing the folded edges even, and baste. Overhand that 
side of the patch. Remove the basting. Crease and 
overhand the remaining sides in the same way, finishing 
the raw edges with overcasting. 




HEMMED PATCH. 



Hemmed Patch: — In making a hemmed patch, cut. 
the patch one inch larger than the hole. The corners 
should be cut the same as for the overhand patch. Place 
the patch on the wrong side and baste through the center 
where the two edges lap. Crease the right side one- 



58 SEWING AND GARMENT DRAFTING. 

eighth of an inch, and hem. Crease the patch the same 
on the wrong side and hem. This patch is used where 
both sides of the garments are to be seen. 

Flannel Patch: — In patching flannel cut away the 
worn and thin parts so as to leave a square or oblong 
hole. Cut the patch large enough to cover the hole and 
the worn parts surrounding it, using a piece of flannel 
of the same weight and texture as the garment to be 
mended. If the hole has been accidentally torn in a 
new garment, a piece of new) flannel can be used, but if 
it be an old garment, the patch should be thoroughly 
washed and shrunk before being used, so that it will 
wash with the garment. Baste the patch evenly over 
the hole on the wrong side of the garment, and catstitch 
it on. Turn the garment right side out and catstitch 
around the hole, being careful not to leave any of the 
threads of the fabric free to ravel. 

DAKNING. 

Darning requires more patience and neatness than 
almost any other kind of needlework, and is an accom- 
plishment of which any one may be proud. As ''prac- 
tice makes perfect," if sufficient time is given to the 
work the student will soon learn to fill in the rent or 
hole so carefully and neatly as to be almost invisible. 
Great care should be taken to have the needle, thread, 
or darning cotton proportioned to the thickness of the 
material to be darned. Always darn on the right side 
of the material, and if it be very thin, or the rent very 



SEWING AND GARMENT DRAFTING. 59 

large or irregular, baste a piece of pasteboard under the 
hole, to prevent puckering. 
*. ; A 



THREE CORNERED DARN. 

Three-cornered Darn: — If a three-cornered tear is to 
be mended, first draw the corners together. Then, hold- 
ing the edges firmly, run them together (see top of illus- 
tration), using the warp of the same material as that 
being darned. The warp is preferable to the woof, be- 
cause it is stronger, and when used for mending does 
not show as plainly as silk thread. The writer has fre- 
quently darned a rent in fine cotton materials with 
150 or 200 thread very successfully. After drawing the 
edges of the tear together, begin at the bottom to darn. 
The ragged edges should not be trimmed, but weave the 
stitches over and under, so as to fold down each torn 
thread, being careful not to draw the thread very tight, 
and thus cause the darn to become puckered. When 
finished, press the darn on the wrong side, and, if it is 
well done it can scarcely be noticed. 

Stockinet Darning :— For linen, and stockinet web 
darning, warp and woof threads should be formed. 
In stockinet darning, cut a hole on a line with the 



(.0 



SEWING AND GARMENT DRAFTING. 



stitches. Remove the cut loops from the edges. Run 
a thread around the hole, about one-fourth of an inch 
from the edge. Baste the stockinet firmly to a piece 
of cardboard, to prevent its being stretched or drawn 
out of shape. Form the warp threads, which should 
be very close together, by bringing the darning cot- 
ton up through the loop stitch at one edge and down 



•MKEMn? 




S'JOCKINET DARNING. 



through the stitch on the opposite edge. All of these 
stitches should be taken up so that they will not ravel 
back after the darn is completed, and so that there will 
be no roughness on the right, side of the stockinet. A 
small loop of the darning cotton should be left at each 



SEWING AND GARMENT DRAFTING. 



61 



end to allow for shrinkage in washing. When the warp 
threads are all in, begin at the lower right-hand side 
of the hole to fill in the woof threads, taking up the al- 
ternate threads of the warp. In the next row only 
those threads missed in the preceding one are taken up. 
Continue in the same manner until the hole is filled. 
Both the warp and woof threads should be carried at 
least one-fourth of an inch beyond the hole in the 
stockinet, so that the darning may be firm and not pull 
away from the worn edges of the stockinet. 




6 Mffl#o s 



LINEN DARNING. 



Linen Darning: — The clever needlewoman, when 
darning table linen, crosses her stitches in imitation of 
the material. Although not quite so easy to learn as 
the preceding method of darning, when once mastered., 
the rent can be as readily mended as by any other kind 



62 SEWING AND GARMENT DRAFTING. 

of stitch. "Before darning linen, the edges of the worn 
or torn parts should be made even. Cut the worn part 
out square, so that, the warp threads can be more easily 
arranged to correspond to the warp of the material. 
Take the warp of a piece of linen to darn with, and 
when finished the mended place will scarcely show. 
Fill in the warp, carrying it one-eighth of an inch be- 
yond the hole ; then, beginning at the right side, fill in 
the woof threads as follows: In the first row take up 
two threads, then over two, continuing until the row is 
completed. In the next row there are two threads the 
same length, one a little longer and another still longer. 
In weaving in the second row, take up one of the short- 
est threads and the one next to the longest; then over 
the longest and one of the shortest, continuing in this 
way until the darning is finished. 

ytfagj 



WEB STITCH. 



Stockinet Web Stitch : — Baste the stockinet on a piece 
of cardboard and cut the hole in a line with the stitches. 
"Remove the cut, loops and weave in the warp by catching 



SEWING AND GARMENT DRAFTING. 63 

into the stitch at one end, then down through the op- 
posite loop stitch, up through the one next to it, and 
back through the first one opposite, taking up the next 
one; continuing in the same manner until all of the 
warp threads have been woven in. Use a dull-pointed 
darning or worsted needle, and weave in the woof by 
putting the needle around two of the warp threads, 
down through the loop, up through the next one, and 
so on until across the darning. In turning, bring the 
needle up through the first loop, then around the first 
two warp threads, down through the loop, up through 
the next loop, and around the two warp threads. Con- 
tinue in this manner until the darning is finished. If 
this method of darning is carefully followed in mend- 
ing silk underwear' or the knees of children's stockings, 
it will never be noticed where the piece has been filled in. 

FASTENINGS. 

Fastenings for dresses vary with fashion. Buttons 
and buttonholes and hooks and eyes are those most com- 
monly used. For wash garments buttons and button- 
holes are preferred to hooks and eyes, as the latter may 
show a rust stain after laundering. The buttonholes 
should be made in the right-hand side. 

Hooks and eyes are used principally on dresses that 
are not to be washed, and are sewed to the lining, thus 
being covered by the fancy front. If sewed on alter- 
nately they are less liable to become unfastened. Small 
sized hooks and loops are used on the outside of a gar- 



64 SEWING AND GARMENT DRAFTING. 

ment or where one portion of the dress fastens acr< 
another. 




BUTTON HOLES. 



Buttonholes: — In making buttonholes, always use 
buttonhole scissors to cut them. Overhand the edges 
closely, not taking in any deeper than necessary to hold 
the threads. In working a buttonhole, always begin at 
the end farthest from the edge of the material, working 
from the right towards the left. Insert the needle with 
the point towards you, drawing it but half way through. 
Take the two threads at the eye of the needle and bring 
them around from right to left, passing under the point 
of the needle. Draw the needle out so that the thread 
will be at right angles from the buttonhole, forming a 
knot, or purl, on the edge. In the first position the 
needle points towards the worker ; in the second, it 
points in the opposite direction. When the buttonhole 
has been worked across one side, work several stitches 
close together, so that the buttonhole will be rounding 
at the end. Work across the other side and finish with 
a bar, which is made by drawing the needle down 
through the first buttonhole stitch taken, bringing it 



SEWING AND GARMENT DRAFTING. 65 

up on the opposite side, through the last button hole 
stitch. Draw this stitch tightly, so as to bring the sides 
close together. Make four of these stitches. Then, 
bringing the needle under them, work four buttonhole 
stitches on them. Draw the needle down through the 
cloth close to the purl of the last stitch and fasten on 
the wrong side. In working a buttonhole, if the thread 
runs too short, pull the needle through the hole and 
fasten the thread tightly on the wrong side, close be- 
side the last stitch. Fasten the new thread on the wrong 
side, bringing the needle up through the last purl. Pro- 
ceed with the buttonhole stitch as if a new thread had 
not been necessary. Buttonholes for shirts and shirt 
waists, or any garment where the buttonhole is made 
lengthwise, should be worked with a bar at each end to 
make it stronger. In addition to overhanding button- 
holes, very careful workers sometimes strand them ; i. e., 
carry a thread of silk across each edge, over which the 
stitch is worked. This is done by bringing the needle 
up through the cloth close to one end of the hole ; down 
through the material at the opposite end, coming up on 
the other side ; repeating these stitches so that there will 
be two strands on each side. The buttonhole is then 
worked as described. 

Buttons: — A button is a knob, or ball, fastened to a 
garment in such a way that it will go through a button- 
hole or loop, and hold different parts of a garment to- 
gether. They are made of horn, wood, mother of pearl, 
etc. In sewing on buttons, draw the needle through the 



66 SEWING AND GARMENT DRAFTING. 

material from the upper side, to conceal the knot under 
the button. A large button should be sewed on a 
cloak, with a smaller one under it and on the wrong 
side of the garment, which will prevent the cloth from 
tearing. Each of these buttons should have the same 




BUTTONS. 



number of holes. The stitches should never be crossed, 
but sewed lengthwise (as illustrated.) Place a pin 
across the top of the button, then, after sewing it on 
securely, remove the pin, which will loosen the stitches. 
Then bring the needle out between the top button and 
the cloth, and wind the thread tightly around the 
stitches four times. This will allow room for the but- 
tonhole. Fasten the thread by bringing the needle 
through to the wrong side and taking several stitches un- 
der the small button. In sewing on buttons for other 
garments, place a pin across the top, and after remov- 
ing it bring the needle out between the button and the 
material. Wind the thread tightly around the stitches, 



SEWING AND GARMENT DRAFTING. 



67 



as in sewing on a cloak button. Bring the needle 
through to the wrong side, and fasten by taking several 
stitches over each other. A boot button, or any button 
with a shank, should be sewed on over and over, the 
stitches being lengthwise. 




HOOKS AND EYES. 



Hooks and Eyes: — There are different methods of 
sewing on hooks and eyes. For the outside of a gar- 
ment they are buttonholed (as illustrated.) When 
they are to be covered, they are sewed on over and 
over. Always sew on the hooks firmly through the rings 
and across the shank close to the turn. Sew on the eyes 
through the rings and across each side of the body of 
the eye. Under the name of "crochet and loop" this 
form of fastening was in use as early as the fourteenth 
century. 

Loops: — A loop is a catch used on a garment to take 
the place of an eye. In making a loop take six stitches 
one-fourth of an inch in length, for a foundation, on 
which the "loop" stitch should be closely worked, the 
twist, or purl, being drawn to the outside edge of the 
loop. To fasten the thread, bring the needle down 
through the material close beside the last stitch, and 



68 



SEWING AND GARMENT DRAFTING. 



fasten on the wrong side with several stitches over 
each other. Loops are also often made with the button- 
hole stitch. 




Eyelets: — An eyelet is a round hole made in the ma- 
terial with a stiletto. Overhand the hole closely with 
twist; the stitch being firmly drawn up to strengthen 
the edge of the hole and keep it well open and in shape. 




CUT "EYELETS 



Work the eyelet with the "loop" stitch from left to 
right. The thread should be fastened on the under side 
the same as in buttonhole making;. 



SEWING AND GARMENT DRAFTING. 



69 



TAKING MEASURES. 

Waist Measurement: — Waist measure should always 
be taken in the same manner, whether it be a nightgown, 
chemise, corset cover, shirt waist, jacket, or a fitted 
waist that is being drafted. 





HOW TO TAKE MEASURES. 

1 Neck, 2 Bust, 3 Waist, 4 Front, 5 Length of Back, 6 Back 
Balance, 7 Under Arm, 8 Chest, 9 Width of Back, 10 Shoulder, 
11 Arm's Bye, 12 Shoulder to Hand, 13 Shoulder to Elbow, 14 
Outside Arm's Eye to Elbow, 15 Inside Arm's Eye to Elbow, 16 
Elbow, 17 Hip. 

First tie a cord tightly around the waist, so as to find 
the correct waist line. The first measurement taken 
should be that of the neck, and it should be taken around 
the fullest part of the neck. When taking the bust 
measure, stand behind the person being measured, pass 
the tape line over the fullest part of the bust around un- 
der the arms to the center of the back. 

The waist measure should be taken tightly around the 
waist line, previously located. The front measure is 
taken from the center of the back of the neck to the 



70 SEWING AND GARMENT DRAFTING. 

waist line in front. The length of the back is found by 
measuring straight down from the back of the neck to 
the waist line. The back balance is another back meas- 
urement, and is taken from the shoulder to the waist 
line in the center of the back. 

The under-arm measure is taken from well up under 
the arm straight down to the waist line. The chest, 
measure is taken straight across the chest. The width 
of the back is determined by measuring straight across 
the widest part of the back. The shoulder measure- 
ment is taken from the neck to the shoulder point. Dart 
]N"o. 1 is measured from the waist line to the fullest 
part of the bust. Dart No. 2 is measured from the 
waist line to a point one-half inch higher than the first 
dart. 

Sleeve Measurements : — The arm's eye measurement 
is found by measuring around the arm just below the 
shoulder bone. The outside length is found by meas- 
uring from the cap of the shoulder over the elbow to the 
hand. The elbow should be bent when taking this 
measurement. 

To find the length from shoulder to elbow, measure 
from the shoulder cap to the most prominent point of 
the elbow when bent. The outside measurement from 
arm's eye to elbow is taken from the arm's eye to the 
most prominent point of the elbow when bent. The in- 
side measurement is found by measuring from the hol- 
low of the elbow to the arm's eye. Bend the elbow and 
measure around it to find the elbow measurement. The 



SEWING AND GARMENT DRAFTING. 71 

hand measure is taken around the fullest part of the 
hand. 

Shirt Waist and Nightgown Sleeves: — The outside 
shoulder to hand measurement is taken from the cap of 
the shoulder over the elbow to the hand. The elbow 
should be bent. The inside measurement is taken from 
the arm's eye to the hand, with the arm straight. The 
arm's eye and hand measurements are taken as for a 
tight sleeve. 

In all the illustrations of drafting each square the 
sides of which measure three-sixteenths of an inch rep- 
resents an inch. 



72 



SEWING AND GARMENT DRAFTING. 



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DRAWERS, SKIRT AND CHEMISE. 



SEWING AND GARMENT DRAFTING. 73 

DOLL'S GARMENTS. 

DRAWEES. 

Band 13 inches 

Length 10 inches 

To draft a pair of drawers for a doll two measure- 
ments are taken, — the band and the length. First meas- 
ure up on a fold of paper the length from 1 to 2. From 
1 to 3 is one-half of the length, and gives the seat-line. 
From 1 measure out to 4 one-half the. band measure 
for the width of the bottom of the leg. From 3 measure 
out to 5 three-fourths of the band measure for the width 
across the seat. From 2 measure out to 6 four-sevenths 
of the band to determine the width of the drawers across 
the front. From 6 measure up to 7 one and one-fourth 
inches, to give the required length of the front seam. 
Connect 2 and 7 with a straight line for the top of the 
front, and 7 with 5 by a slightly inward curved line. 
From 6 measure out to 8 one and one-half inches, to 
give the required width of the back, and from 8 meas- 
ure up to 9 one and one-fourth inches for the length 
of the seam in the back. 

Connect 9 and 2 with a straight line for the top of the 
back, and 9 with 5 by a straight line for the seam in the 
back. Reduce the measurements 6 to 7 and 8 to 9 one- 
sixteenth of an inch for each inch decrease in the length 
of the doll. The drawers should be finished the same as 
are children's drawers, except that for a doll they should 
always have a straight band. 



74 



SEWING AND GARMENT DRAFTING. 



SKIRT. 

To draft a skirt for a doll two measurements 
quired, — the length and the width around the 
TABLE OF MEASUREMENTS. 



are re- 
hips. 



Hip. 


Top of 
Front. 


Bottom of 
Side Gore. 


Top of 
Side Gore. 


Bottom of 
Front. 


Back. 


12 


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The measurements taken for the doll's skirt illus- 
trated were: — 

Hip 16 inches 

Length 13 inches 

Front: — For the front, measure down to 1 one-fourth 
of an inch for the curve at the top, and from 1 to 2 the 
required length. From 1 measure down to the largest 
part of the hip or to 3 to find the hip line, and from 
3 measure out to 4 the width of the front, on hip line. 



SEWING AND GARMENT DRAFTING. 75 

From 2 measure out to 5 the width of the bottom of 
the frout breadth. 

Draw a line from the top of the paper through 4 to 5, 
and mark off the length of skirt, 6, and for the bot- 
tom of the front draw a curved line from 2 to 6. At 
the top measure in one-fourth inch to 7, and draw an 
outward curved line to an inch and a half above 4. 
Draw a curved line from 7 to 1 for the top of the front 
breadth. 

Side Gore: — For the side gore measure down to 1, 
one-half inch for the curve at the top. From 1 measure 
down to 2 the required length, and from 1 to 3, to find 
the hip line. From 3 measure out to 4 the width of 
the side gore on the hip line, and from 2 out to 5 the 
width of the bottom of the side gore. 

Draw a line from the top of the paper through 4 to 5, 
and mark off the length of the skirt, 6. From 1 meas- 
ure in one-fourth inch to 7, and draw an outward curve 
to the point one and one-half inches above 3. Draw 
a curved line from the top of the second seam to 7 for 
the top of the side gore, and connect 2 and 6 with an 
outward curved line for the bottom. The back breadth 
should be a straight piece. 

The skirt should be cut and made according to the di- 
rections for an adult's underskirt. The measurement 
from 1 to 3 should be reduced one-fourth of an inch for 
each inch decrease in the length of the doll, or increased 
in the same proportion for a larger doll. 



76 SEWING AND GARMENT DRAFTING. 

CHEMISE. 

The measurements taken for the doll's chemise were : 

Neck 7 inches 

Bust 15 inches 

Waist 13 inches 

Chest 7 inches 

Under arm 3^ inches 

Length back G£ inches 

Width back 5 inches 

Bach: — To draft the back draw a horizontal line the 
length of paper and half an inch from the edge. From 
the top of paper measure down to 1 one-eighth inch for 
curve at neck. From 1 measure down two inches to 2 
for slant of shoulder. To find the waist line measure 
down from 1 to 3 the length of back. 

From 3 measure up to 4 the under-arm measurement 
to determine top of under-arm seam. From 1 measure 
out one inch to 5 for curve at back of neck. From 2 
measure out six inches to 6 for slant of shoulder. From 
4 measure out to 7 half width of back plus one inch to 
bring seam under the arm. From 3 measure out the 
same number of inches to 8. 

Connect 5 and 6 with a dotted line, and mark length 
of shoulder 9. From 9 draw arm's eye curve to 7. 
Draw the under-arm seam from 7 to 8. To find the 
slant of skirt of chemise measure down two inches to 10 
and out one inch to 11. Make skirt the desired length. 
Make the shoulder seam one inch wide, and draw neck 



SEWING AND GARMENT DRAFTING. 77 

curve to the point half an inch above 2. From that 
point measure out the desired fullness. 

Front: — To draft the front draw a horizontal line 
the length of paper one inch from the edge. From top 
of paper measure down one and one-half inches to 1 for 
slant of shoulder seam. From 1 measure down three 
and one-half inches to 2 to find the bust line. From 2 
measure down to 3 the length of under-arm measure- 
ment to find the waist line. 

From top of paper measure out one and one-half inch- 
es to 4z for curve at neck. From 1 measure out five 
inches to 5 for shoulder slant. To find the length of 
bust line in front, subtract the width of back from bust 
line, and for half of front divide the remainder by two. 
This amount less the one inch added to the back, meas- 
ured out from 2 to 6 will give bust line. Measure out 
the same number of inches on waist line from 3 to 7. 

One-half inch above 2 measure out one-half width of 
chest. Connect 4 and 5 with a dotted line and mark 
length of shoulder 9. Draw arm's eye curve from shoul- 
der to bust line touching chest line. Draw under-arm 
seam from 6 to 7. To find the slant of skirt of doll's 
chemise, measure down from 7 to 10 two inches and out 
to 11 one inch. Make skirt the desired length. Make 
the shoulder seam one inch wide, and draw neck curve 
to the point one inch above chest line. 

An allowance of one-sixteenth of an inch must be 
made for each inch difference in size of doll. Follow 
the directions given in adult's chemise for making. 



78 SEWING AND GARMENT DRAFTING. 

CHILDREN'S GARMENTS. 

DBA WEES. 

To draft the pattern illustrated two measurements 
were taken : — 

Length 16 inches 

Band 23 inches 





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DRAWERS. 



The length is found by measuring from the waist line 
over the hip to the knee. The band measure is found 
by measuring around the smallest part of the waist. 
Measure up on a fold of paper the length from 1 to 2. 
To find the seat line, measure up from 1, one-half the 



SEWING AND GARMENT DRAFTING. 79 

length, less one inch, to 3. From 1 measure out to 4 
one-half the length for the width of the leg. To find 
the width of the seat measure out from 3 to 5, three- 
fourths the length plus one inch. To find the width 
of the front measure out from 2 to 6 one-third the band 
measure, plus one inch, and for the slant of the top of 
front mark up one and one-half inches to 7, and connect 
2 and 7. Draw a straight line from 7 to 5 for the front 
seam. 

Since the back is wider than the front, measure out 
from 6 to 8 one and one-half inches, and for the slant of 
the top of back measure from 8 to 9 three inches. Con- 
nect 2 and 9 with a straight line for the top of the back, 
and 9 and 5 with a slightly outward curved line for the 
seam in the back. Connect 5 and 4 with an inward 
curved line for the seam in the leg. 

The drawers as drafted are the length they should be 
when finished. Open the pattern and fold back the bot- 
tom the width of the trimming. Then pin it to the ma- 
terial, placing the bottom straight with the woof threads. 
Cut the second leg by the first, with the right sides of 
the material together. Make the drawers with felled 
seams, hemming the opening on each side and finishing 
them with gussets. Use a straight band. If a curved 
band is preferred, draft it as follows : 

Band: — Make a square one-fourth inch larger than 
one-fourth the band measure. From the top measure 
down to 1 one and one-half inches for the curve in front ; 
and from 1 to 2, two and one-half inches for the width 



80 SEWING AND GARMENT DRAFTING. 

of band in front. From 1 measure up to 3 one-quarter 
of the band measure, and from 3 to 4 one and one-half 
inches for the width of band on the side. 

Connect 1 and 3 and 2 and 4 with slightly inward 
curved lines. Connect 1 and 2 and 3 and 4. Cut on a 
fold. When this band is used cut the top of front, of 
drawers off on the line from 2 to 6. Use a straight 
band in the back. 







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NIGHTGOWN. 

The measurements taken for the child's gown illus- 
trated were: — 

.Neck 11 inches 



Bust 



inches 



SEWING AND GARMENT DRAFTING. 81 

Back llf inches 

Under arm 6 inches 

Shoulder 4 inches 

Chest 10 inches 

Width back 9^ inches 

Back: — In drafting the-back first draw a horizontal 
line the length of the paper and one inch from the edge. 
From the top of paper measure down on the line one- 
fourth inch to 1 for the curve at the neck. 

From 1 always measure down three inches to 2 for 
shoulder slant, and from 1 to 3 length of back to find 
waist line. From 3 measure up to 4 the length of un- 
der-arm measurement to determine top of under-arm 
seam. 

From 1 measure out on top of paper to 5 one and one- 
half inches for a twelve-inch neck, adding or deducting 
one-eighth inch for each inch more or less in the neck 
measurement. From 2 always measure out seven inches 
to 6 to find correct slant of shoulder seam. From 4 
measure out to 1 half the width of back plus one and 
one-fourth inches to bring seam under the arm and 
from 3 measure out the same number of inches on the 
waist line to 8. To find the slant of the under-arm 
seam measure down from 8 three inches to 9, and out 
•one and one-half inches to 10. 

Draw the curve for the neck from 5 to 1. Connect 5 
and 6 with a dotted line and mark the length of shoulder, 
curving the shoulder seam to 11 one-fourth inch above 
the dotted line. 12 is the arm's-eye curve drawn from 



82 SEWING AND GARMENT DRAFTING. 

11 to 7. From 7 draw the under-arm seam through 10 
to the required length of the gown. Draw a line for the 
back joke one inch below 2. Allow fullness in the back 
from the same point, if for a yoke. 

Front: — For the front first draw a horizontal line the 
length of the paper and two inches from the edge. 
From the top of paper measure down on line to 1 two 
inches for shoulder slant. From 1 always measure 
down five inches to 2 to determine top of under-arm 
seam, and from 2 to 3 the length of under-arm measure- 
ment to find waist line. 

From top of line measure out to 4 two inches for a 
twelve-inch neck, adding or deducting one-eighth inch 
for each inch more or less in the neck measurement. 
From 1 always measure out eight inches to 5 for correct 
slant of shoulder seam. 

To find the width of front on bust line subtract the 
width of back from bust measure, and for half the front 
divide the remainder by two. This amount, less the one 
and one-fourth inches added to the back, is the length of 
the line from 2 to 6. Measure out the same number of 
inches on the waist line from 3 to 7. To find the slant 
of the under-arm seam measure down from 7 three inch- 
es to 8, and out one and one-half inches to 9. One inch 
above 2 measure out to 10 half the chest measurement. 

Connect 4 and 5 with a dotted line and mark the 
length of shoulder seam 11. 12 is the arm's-eye curve 
drawn from the shoulder to bust line, touching chest 
line. Draw the under-arm seam from 6 through 9 to 



SEWING AND GARMENT DRAFTING. 



83 



the required length of the gown. Any style gown may 
be cut from this pattern, fullness being allowed either 
for yoke or from the neck. Follow directions given in 
adult's gown for cutting and making. 







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SLEEVE. 

SLEEVE. 

The measurements taken for this sleeve were: 

Outside shoulder to hand 16 inches 

Inside arm's eye to hand 11-J inches 

Arm's eye 11 inches 

Hand 6 inches 



84 SEWING AND GARMENT DRAFTING. 

Draft this sleeve with the fold of paper towards you. 
From 1 measure up on the fold to 2 the outside length 
of sleeve, and from 1 to 3 the inside measurement. 
From 1 measure out to 4 half the hand measure plus 
two inches. From 3 measure out to 5 half the arm's 
eye, plus two inches. From 2 measure out to 6 half the 
arm's eye, less one and one-half inches, and from that 
point draw an outward curve to 5 for the top of upper 
side of sleeve. 

For the curve under the arm measure in from 5 to 7 
one-fourth the arm's eye, and draw an outward curved 
line from 2 through 7 to 5, extending it one-fourth inch 
below the arm's-eye line. Connect 5 and 4 with a dot- 
ted line. Mark the length of inside measurement, and 
draw a slightly curved line for the seam. For the bot- 
tom of sleeve connect 1 and 4 with a slightly curved line. 

Cut the pattern through both thicknesses of paper, 
cutting the upper portion first; then, opening the pat- 
tern, cut on the line from 2 through 7 to 5. Allow for 
seams. Open the pattern and pin it to the material, so 
that the warp will run straight with length of sleeve. 
The sleeve may be made and finished the same as the 
adult's nightgown sleeve. 



SEWING AND GARMENT DRAFTING. 85 




T W 

APEON. 

APRON. 

The measurements taken for the apron illustrated 
were: 

Neck 11 inches 

Bust 26 inches 

Length of back llf inches 



86 SEWING AND GARMENT DRAFTING. 

Back balance 10^ inches 

Under arm 6 inches 

Shoulder 4 inches 

Chest 10 inches 

Width of back 9£ inches 

Bach: — For drafting the back, draw a horizontal line 
the length of the paper. From 1 measure down to 2 
three and one-fourth inches for the slant of the shoulder 
seam. Measure down from 1 to 3 the length of the 
back to find the waist line. From 3 measure up to 4 
the under-arm measurement which is the top of the 
under-arm seam. From 3 measure to 5 the required 
length from the waist line to the bottom of the apron. 
From 1 measure out to 6 one and one-half inches for a 
12-inch neck, adding one-eighth of an inch for each ad- 
ditional inch, or deducting the same amount for each 
inch less in the neck measurement. From 2 always 
measure out seven inches to 1 for the correct shoulder 
slant. From 4 measure out to 8 one-half the width of 
the back plus one and one-fourth inches to bring the 
seam under the arm ; and from 3 measure out on the 
waist line to 9 the same number of inches, plus one inch 
for the correct slant of the under-arm seam. 

Connect 6 and 1 with dotted lines, marking the length 
of the shoulder. Draw 10, the back balance, from 3 
through that point, and make the shoulder seam, 11, one 
and one-half inches wide. 12 is the arm's-eye curve; 
13 the neck curve; 14 the under-arm seam; and 15 the 
slightly curved line drawn for the bottom of the apron. 



SEWING AND GARMENT DRAFTING. 87 

Front: — For the front draw a horizontal line the 
length of the paper and two inches from the edge. 
From the top of the line measure down to 1 two inches 
for the slant of the shoulder seam. 

From 1 to 2 should be five inches for a child and de- 
termines the top of the under-arm seam. Measure from 
2 to 3 the length of the under-arm measurement to find 
the waist line. From 3 measure to 4 the required 
length from the waist line to the bottom of the apron. 

From the top of the line measure out to 5 two inches 
for a 12-inch neck, adding or deducting one-eighth of an 
inch for each inch more or less in the neck measure- 
ment. From 1 to 6 is always eight inches, which gives 
the correct shoulder slant for a child. 

From 2 to 1 is the bust line, which is determined by 
subtracting the width of the back from the bust measure- 
ment, and, since we are drafting but one-half of the 
front, divide the remainder by two. From this amount 
deduct the one and one-fourth inches which was added 
to the back. From 3 measure out the same number of 
inches to 8, plus one and one-half inches for the slant of 
the under-arm seam. 

One inch above the bust line measure out to 9 one- 
half the chest measurement. Connect 5 and 6 with a 
dotted line, marking off the length of the shoulder and 
making the shoulder seam one and one-half inches wide, 
10. 11 is the arm's-eye curve drawn from the shoulder 
to the bust line touching the chest line. 12 is the neck 
curve drawn from the shoulder to the point two and 



88 SEWING AND GARMENT DRAFTING. 

one-fourth inches below 1. Draw the under-arm seam 
and the line for the bottom of the apron, 13. 

Cut the front of a fold of the material, allowing full- 
ness at the neck if desired. Allow the hems on the 
back, and finish with French seams. A high neck and 
long-sleeved apron can be made from this pattern by 
drafting it to the neck and using the nightgown sleeve. 



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WAIST. 

The measurements taken for the waist illustrated 
were: 

Neck 11 inches 

Bust 25 /inches 

Waist 23 inches 

Front 14 inches 

Back llf inches 



SEWING AND GARMENT DRAFTING. 89 

Back balance 10^ inches 

Under arm . 6 inches 

Shoulder 4 inches 

Chest 10 inches 

Width of back 9^ inches 

Bach: — In drafting the back of a child's waist, first 
draw a horizontal line the length of the paper and one 
inch from the edge. From the top of the line measure 
down one-fourth of an inch to 1 for the curve at the 
neck. From 1 measure down three inches to 2 for the 
slant of the shoulder. To find the waist line measure 
down from 1 to 3 the length of the back. From 3 meas- 
ure up to 4 the length of the under-arm measurement. 
From 1 measure out one and one-half inches for a 
twelve-inch neck, adding or deducting one-eighth of an 
inch for each inch more or less in the neck measure- 
ment. From 2 measure out six inches to 6 for slant of 
the shoulder. From 4 to 7 measure out half of the 
width of back, and from 3 to 8 the width of back on 
the waist line, allowing one-eighth of an inch for each 
additional inch in the waist measure. 

Connect 5 and 6 with a dotted line, and mark the 
length of the shoulder. 10 is the back balance taken 
from the center of the back on the waist line to the 
shoulder point, and determines the location of the 
shoulder seam. 11 is the arm's-eye curve. 12 is the 
under-arm seam drawn from 7 to 8. 

Front: — For the front draw a horizontal line the 
length of the paper and two inches from the edge. 



90 SEWING AND GARMENT DRAFTING. 

From the top of the paper mark down on the line two 
inches to 1 for the slant of the shoulder. From 1 al- 
ways measure down five inches to 2 to find the bust 
line. From 2 measure to 3 the length of the under- 
arm measurement to find the waist line. 

From the top of the main line measure out to 4 two 
inches for a twelve-inch neck, adding or deducting one- 
eighth inch for each inch more or less in the neck meas- 
urement. From 1 measure out eight inches to 5 for the 
slant of the shoulder. 

To find the width of the bust line from 2 to 6, sub- 
tract the width of the back from the bust measure and 
divide the remainder by two for half the front. To find 
the width of the front on the waist line, subtract the 
width of back on the waist line from the waist, measure- 
ment and for half the front divide the remainder by 
two, and the amount remaining is the measure from 3 to 
7. One inch above the bust line measure out one-half 
the chest measurement, 8. 

Connect 4 and 5 with a dotted line, and mark the 
length of the shoulder, 9. 10 is the arm's-eye curve, 
and is drawn from the shoulder to the bust line, touch- 
ing the chest line. 11 is the neck curve drawn from 4 
to one and one-half inches below 1, if for a 12-inch neck. 
Allow or deduct one-eighth of an inch for each inch 
more or less in the neck measurement. 

To find the permanent waist line subtract from the 
front measurement the number of inches marked off 
from 1 to 5 on the back of the neck. Measure the re- 



SEWING AND GARMENT DRAFTING. 



maining number of inches from 4 to the main line, 12, 
in front, and draw the waist line. From 6 measure up 
three-fourths of an inch and in one-fourth of an inch, 
and connect that point with 7 for under-arm seam. 



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SLEEVE. 

Sleeve: — The measurements taken for the child's 
sleeve were: 

From shoulder to elbow 9-J inches 

From elbow to wrist 6^ inches 

Inside from arm's eye to elbow 6 inches 

Arm's eye 11 inches 

Elbow 8 inches 

Hand 6^ inches 

First measure down from the top of paper the meas- 
urement from shoulder to elbow to 1 to find the elbow 
line. From 1 to 2 measure the length from elbow 
to wrist, and from 2 to 3 always mark off one and 
one-half inches for the slant at wrist. From 1 to 4 
mark the inside measure from elbow to arm's eye, and 
from 4 to 5 always mark one and one-half inches for 
the curve of the under portion of sleeve. 

From top of the line measure out four inches to 6. 
From 5 measure out one-half of arm's eye less one and 



92 SEWING AND GARMENT DRAFTING. 

one-half inches to 7 for the under portion, and from 5 
to 8 one and one-half inches more than half the arm's 
eye for the upper portion of sleeve. From 4 measure 
off to 9 one-half the distance from 5 to 7. 

From 1 always measure out one and one-half inches 
for inside curve of elbow. From 10 measure out to 11 
one-half the elbow measure, less one inch for the width 
of the under portion at the elbow; and from 10 to 

12 measure out one-half the elbow measure, plus one 
inch, for the width of the upper. From 3 to 13 mark 
off one-half inch and then from 13 to 14 one-half the 
hand measure, less one inch for the width of the under 
portion at the wrist. From 13 to 15 measure out one- 
half the hand measurement, plus one inch for the width 
of the upper portion. 

Draw an outward curved line from 4 through 10 to 

13 for the inside seam. For the outside seam of the 
under part of sleeve draw an outward curved line from 
7 through 11 to 14, and for the outside seam of the up- 
per portion draw an outward curved line from 8 
through 12 to 15. Draw a curved line from 4 through 
6 to 8 for the top of upper part of sleeve, and another 
one from 4 to 7 for the curve under the arm. 

Collar: — For the collar mark down one inch to 1, 
and out from top of line one-half of neck measure. 
Then mark in one-half inch to 2. From 1 measure 
down one inch to 3. 

At the end of top line measure down one inch and 
connect 1 and 2 with an inward curved line for the top 



SEWING AND GARMENT DRAFTING. 



93 



of the collar. Connect 2 and 4 with a straight line for 
the center of front, and draw an outward curved line 
from 3 to 4 for the bottom of the collar. 

























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BOY'S SAILOB WAIST AND COLLAB. 

BOY'S SAILOB WAIST, AND COLLAB. 

The measurements taken for this waist were : 
Neck 11 . inches 



94 SEWING AND GARMENT DRAFTING. 

Bust 25 inches 

Back llf inches 

Under arm 6 inches 

Shoulder 4 inches 

Chest 10 inches 

Width back 9^ inches 

Bach: — For the back draw a horizontal line the 
length of the paper and one inch from the edge. From 
the top measure down one-fourth inch to 1 for the curve 
at the neck. From 1 always measure down three inches 
to 2 for slant of shoulder. From 1 measure down to 
3 the length of back to find the waist line. From 3 
measure up to 4 the under-arm measurement, to de- 
termine the top of under-arm seam. 

From 1 measure out to 5 one and one-half inches for 
a twelve-inch neck, adding or deducting one-eighth inch 
for each inch more or less in the neck measurement. 
From 2 always measure out seven inches to 6 to get the 
shoulder slant. From 4 measure out half the width 
of back, plus one and one-half inches, to bring the 
seam under the arm. Measure out the same number 
of inches from 3 to 8, plus one and one-fourth inches, 
for the slant of under-arm seam. 

Connect 5 and 6 with a dotted line, and mark the 
length of shoulder, 9, coming up one-half inch from 
shoulder slant, and draw shoulder seam, 10. 11 is the 
curve at the neck. 12 is the arm's-eye curve. 13 is 
the under-arm seam, extending from 7 to bottom of 
waist and slanting two and one-fourth inches. 14 is the 



SEWING AND GARMENT DRAFTING. 95 

curve at the bottom, which, is five inches below the waist 
line. 

Front: — For the front draw a horizontal line the 
length of the paper and two inches from the edge. 
Measure down two inches from top of line to 1 for 
slant of shoulder. From 1 measure down four and 
one-half inches to 2 for the bust line. To find the waist 
line, measure down from 2 to 3 the length of the under- 
arm measurement. 

From the top of line measure out two inches to 4 for 
a twelve-inch neck, allowing or deducting one-eighth 
inch for each inch more or less in the neck measure- 
ment. Measure out eight inches from 1 to 5 for the 
correct shoulder slant. 

To find the width of the front on the bust line sub- 
tract the width of back from bust measurement and di- 
vide the remainder by two for half the front. From 
this amount subtract the one and one-half inches added 
to the back, and measure out the remainder from 2 to 6. 
Measure out the same number of inches from 3 to 7, 
plus one and one-half inches for slant of under-arm 
seam. 

Connect 4 and 5 with a dotted line, and mark off the 
length of shoulder seam to 8. One inch above the bust 
line measure out to 9 one-half the width of chest. 10 is 
the arm's-eye curve drawn from the shoulder to the bust 
line touching the chest line. 11 is the neck curve drawn 
from 4 to the point one and one-half inches below 1 for 
a twelve-inch neck, with a difference of one-eighth inch 



96 SEWING AND GARMENT DRAFTING. 

for each varying inch in the neck measurement. 12 is 
the under-arm seam extending from 6 to the bottom of 
the waist and slanting two and one-half inches. 13 is 
the slightly curved line at bottom of waist. 

Band: — For the neck band mark off one-half of neck 
measure, and make it one and one-fourth inches in 
width. The dotted line, 1, is the center of back. 2 is 
the edge of band, which is sewed on the neck of the 
waist, and is slightly curved in front. 3 is the curved 
edge in front. And 4 is the top, which is straight. 
Cut the band lengthwise of the material. 

Collar: — For the sailor collar mark off on fold of 
paper eight and one-fourth inches, which is the dot- 
ted line, 1, and marks the center of the back. 2 is 
the bottom of collar in the back, and is slightly 
curved. 3 is a straight line slanting one-half inch, 
and is the side of collar. 4 is the edge in front, slant- 
ing one and one-half inches. 5 is the neck curve. 

This collar may be made to come to a point in front 
by following the dotted lines. The blouse as drafted 
fits a child of seven. For a younger child it should be 
wider at the bottom, and longer. 



SEWING AND GARMENT DRAFTING. 



97 



Blouse Sleeve: — The following measurements were 
taken for the boy's blouse sleeve illustrated: 









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BLOUSE SLEEVE. 

Length shoulder to hand 15 inches 

Inside arm's eye to hand 11 inches 

Arm's eye 10 inches 

Hand 6 inches 

To draft the sleeve for a boy's blouse measure on a 
fold of paper from 1 to 3 the length of the sleeve from 
shoulder to hand, and from 3 measure to 2 the inside 
length. From 2 measure out to 4 half the arm's eye 
measurement, plus two inches, for the width of the 



98 SEWING AND GARMENT DRAFTING. 

sleeve. From 3 measure out to 5 one-half the hand 
measurement plus one and one-half inches. Draw an 
outward curve from 1 to 4 for the upper portion of the 
sleeve. 

For the under portion draw another curved line 
from 1 to 4, extending a portion of it one-fourth inch 
below the line 2 to 4, for the curve under the arm. 
Connect 4 and 5 with a dotted line marking off the 
inside length of the sleeve, and draw from 3 the line 
indicating the bottom of the sleeve. 

Dotted lines show the size and shape of the cuff. The 
extra width of the sleeve is gathered into the band or 
cuff. The extension and finish for the opening in the 
sleeve are also illustrated. Make the sleeve with a 
French seam. Gather the sleeve across the t.op and 
place it in the garment so that the most fullness will 
come just in front of the shoulder seam, the remainder 
being evenly distributed over the top of sleeve. 



SEWING AND GARMENT DRAFTING. 



BOY^S PANTS. 

The following measurements were taken for the boy's 





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BOY'S PANTS. 



Waist 24 inches 

Width of seat 17 inches 

Knee 13^ inches 

Outside length 16^ inches 

Inside length 8| inches 

Front: — -To draft the front of boy's pants draw a 
horizontal line the length of the paper and one inch 
from the edge. From the edge of the paper measure 



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100 SEWING AND GARMENT DRAFTING. 

up three-fourths of an inch, to determine the Iwttom of 
the pants and from that point measure up on the line 
the outside length. 

For the curve of the side seam at the bottom measure 
in to 1 one-half inch, and for the curve at the top meas- 
ure in three-eights of an inch. For the slant at the 
bottom of leg measure from 1 to 2 one-fourth inch. To 
find the seat line measure up from 2 to 3 the length of 
the inside measurement. From 2 measure out to 4 one- 
half the knee measurement less one-half inch, for the 
width of leg at the bottom. 

To find the width of the front of pants on the seat 
line measure out from 3 to 5 one-half of width of seat 
measurement less three-fourths of an inch. To find the 
width of top measure out to 6 one-fourth of waist meas- 
urement less one inch. 

Draw a curved line from the top of the pants 
through 3 to 1 for the side seam. Connect 1 and 4 
for the bottom of the pants. From the top of the side 
seam draw a line to the point one-half inch above 6. 
From this point draw a line to 5, curving it sharply 
at the seat. Connect 5 and 4 with a slightly curved 
line for the inside seam. 

Bach: — To draft the back of the pants draw a hori- 
zontal line the length of the paper and one inch from 
the edge. From the edge of the paper measure up one- 
half inch to determine the bottom of the pants; and 
from this point for the slant of the side seam meas- 
ure in to 1 three and one-half inches. For the slant of 
the bottom of leg measure from 1 to 2 one-half inch. 



SEWING AND GARMENT DRAFTING. 101 

To find the seat line measure up from 2 the inside 
measurement slanting the line one and three-eighths 
inches to 3. From 2 measure out to 4 one-half the knee 
measurement, plus one inch, for the width of the leg at 
the bottom. 

To find the width of hack of pants on the seat line 
measure out from 3 to 5 one-half of width of seat plus 
one and one-half inches. Measure up the outside 
length, from 1 through 3 to the main line, and from 
this point measure out to 6 one-fourth the hand meas- 
ure plus two inches for the width of the top. From 6 
measure up three inches, slanting one and one-fourth 
inches to 7. For the side seam draw a slightly curved 
line from 1 through 3 to the main line, allowing for 
flap as indicated. Connect 1 and 4 for the bottom of 
the pants. Connect the top of side seam and 7 with 
a straight line, and from 7 draw a curved line through 
6 to 5. Connect 5 and 4 with a slightly curved line 
for the inside seam. 

Cut the pattern allowing for seams. Fit the back 
of the pants with a dart in the center of each side. 
Sew up the side seams, stitching them flat on the right 
side. Sew the inside seams of each leg, then joining 
the inside seams at the seat line, baste and stitch the 
front and back seams. Press and stitch on the right 
side. Face or hem the bottom and finish the placket 
with a facing. Sew a band on the inside for the but- 
tonholes, to fasten to waist. 



102 SEWING AND GARMENT DRAFTING. 



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SEWING AND GARMENT DRAFTING. 103 

ADULT'S GARMENTS. 

DRAWEES. 

Two measurements are required for ^rafting draw- 
ers. Those in the illustration are : 

Band 24 inches 

Length 24 inches 

The hand measurement is taken around the waist. 
The length is measured from the waist over the hip to 
the bend of the knee. On the fold of the paper meas- 
ure up to 1 the length of the drawers. 

To find the seat line measure up on the fold to 3 
one-half the length. Measure out to 2 one-half the 
hand measurement to find the width of the bottom of 
the drawers. From 3 measure out to 4 three-fourths 
of the length for the width of the seat. For the width 
of the front of the drawers measure out from 1 to 5 
four-sevenths of the band measure. 

To secure a good fit the drawers should be longer 
on the seams than on the hips. Extend the front seam 
two and one-half inches above 5 to 6. Connect the 
top of the front, 6, with the hip, 1, and for the front 
seam draw a slightly inward curved line from 6 to 4. 

Since more fullness is required in the back than in 
the front measure out from 6 to 1 two inches. The 
back seam should be longer than the front. Therefore, 
measure up from 7 to 8 two and one-half inches. Con- 
nect this point, 8, with the hip, 1, and for the back 
seam draw a slightly outward curved line to 4. Eor 



104 SEWING AND GARMENT DRAFTING. 

Cut the pattern through both thicknesses of paper by 
the outside pencil marks. Then, unfolding the paper, 
cut the front on the lines drawn for the front. 

Band: — When drafting the band take a measurement 
one inch larger than the band measure, and to this 
amount add six inches and, since we are drafting but 
one-fourth of the band at a time, divide this number 
by four, and we have left the size of the square in which 
to draft the band. 

In drafting the front, measure down two and one- 
half inches to 1. For the middle of the front, meas- 
ure down from 1 to 4 three and one-half inches. For 
the slant of the seam on the hips measure in from the 
edge of the square one and one-half inches to 2 and for 
the width of the band on the hips measure down from 
the edge of the square two and one-half inches to 3. 
Connect 1 and 2 and 3 and 4 by lines slightly curving 
towards the center. Connect 2 and 3 with a straight 
line for the hip seam. 

In drafting the back measure down from the edge 
of the square two to 1, and from 1 measure down three 
inches to 4 for the middle of the back band. For the 
slant of the seam on the hips measure in from the edge 
of the square one and one-half inches to 2 ; and for the 
width of the band measure down from the edge of the 
square two and one-half inches to 3. Connect 1 and 2 
by an inward curved line, and 4 and 3 by an outward 
curve. Connect 2 and 3 with a straight line for the 



SEWING AND GARMENT DRAFTING. 105 

Lip seam. Cut the middle of the front and the middle 
of the back band on a fold of the material. 

The drawers as drafted are the length they should 
be when finished. Therefore, when cutting them out 
open the pattern and fold back the bottom the same 
width as the trimming to be used. Care should be 
taken when pinning the pattern to the material to have 
the bottom straight with the woof threads of the cloth. 
Cut the second leg by placing the one already cut on 
the material, with the right sides together. 

Make the drawers with felled seams. Hem the 
plackets, and finish !them with gussets. To make a 
pair of drawers, two yards of muslin are required, 
if other material is used for trimming. If trimmed 
with itself two and one-half yards are needed. If 
trimming four or more inches wide is used, allow 
once and a half the width of the bottom for each leg. 
Narrower embroidery requires less fullness. 

Umbrella drawers can be made from this pattern by 
drawing a curved line from three and one-half inches 
below 3 to four and one-half inches above 2, and cut- 
ting on that line for the bottom of the leg. 



106 



SEWING AND GARMENT DRAFTING. 



UNDERSKIRT. 

To draft an underskirt four measurements are neces- 
sary: The hip measure, which is taken around the 
hips six inches below the waist. The length is taken 





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TXl'KUSKIRT. 



three times, — down the front, over the hips, and down 
the back ; each measurement being taken from the waist 
line to the bottom of the skirt. 



SEWING AND GARMENT DRAFTING. 107 

Fronts — To draft the front of skirt, measure down 
on the edge of the paper one-half of an inch to 1 for 
the curve at the top of the front. From 1 always meas- 
ure down six inches to 2 to find the hip line. From 1 
measure down to 3 the length of the skirt in front. 
From 2 measure out to 4 the width of the front on the 
hip line, as illustrated in table of measurement, in which 
case the hip measure is thirty-eight inches. From 3 
measure out to 5 the width of the bottom of the front 
breadth. 

Draw a line from the top of the paper through 4 
to 5, measuring the length of the skirt, 6, and for the 
bottom of the front draw a curved line from 3 to 6. On 
the top of the paper measure in one-half inch to 7 and 
draw an outward curved line to within three inches of 4. 
Draw a curved line from 7 to 1 for the top of the front 
gore. 

Side Gore'- — For the side gore measure down on the 
edge of the paper one inch to 1 for the curve at the top 
of the gore. From 1 always measure down six inches to 
2 for the hip line. From 1 measure down to 3 the length 
of the skirt, making it correspond with the length of 
the seam of the front. From 2 measure out to 4 the 
width of the side gore on the hip line. From 3 meas- 
ure out to 5 the width of the bottom of the side. 

Draw a line from the top of the paper through 4 to 5, 
measuring the length of the skirt in the back at 6. From 
the edge of the paper measure in one-half inch to 7 
and draw an outward curve to the line three inches 



108 SEWING AND GARMENT DRAFTING. 

above 2. From the top of the second seam draw a 
curved line to 1 for the top of the side gore. From the 
top of the side gore measure down through the center 
the length of the skirt over the hips, and for the bottom 
of the gore draw a line from 3 to 6. 

Back: — The back of the skirt is a straight length, 
thirty-six inches wide. When cutting the skirt, the 
front should be cut first, cutting it on a fold of the 
material, and allowing for seams. 

Baste the skirt together, try it on, and fit it at the 
waist line by taking up darts in the front and on the 
hips, the only fullness being in the back, the back 
breadth only being gathered. Overcast the edges of 
the seams together. 

The skirt may be finished at the bottom with a three 
inch dust ruffle and a deep flounce, which should be put 
on with a tuck. Colored skirts can be made with two 
medium width corded ruffles. From four to six yards 
of muslin is required to make a skirt. 

YOKE FOR UNDERSKIRT. 

Yoke, for Undershirt: — The measurement taken for 
the yoke illustrated was waist twenty-four inches, width 
five inches. 

To draft the yoke make a square one-third of the 
band measurement plus the required width of the yoke. 

From the top measure down to 1 one-third of the 
band measurement for the curve of the front of yoke. 

From 1 measure down to 2 the width of yoke. 



SEWING AND GARMENT DRAFTING. 



109 



To find the curve for the back of the yoke, measure 
out from the top of the square to 3 one-third of the 
band measurement, and from 3 to 4 measure the width 
of the yoke. 



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YOKE FOE UNDEBSKIET. 



For the top of the yoke draw a curved line from 1 
to 3 and for the bottom draw another from 2 to 4. 

The dotted line 1 to 2 is the middle of the front and 
should be cut on a fold of the material. 



SEWING AND GARMENT DRAFTING. 
NIGHTGOWN. 





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NIGHTGOWN. 



The measurements taken for the nightgown were 

Neck 12 inches 

Bust 34 inches 

Length of back 16 inches 



SEWING AND GARMENT DRAFTING. Ill 

Under arm 8f inches 

Chest 13 inches 

Width of back 11^ inches 

Shoulder 5-J inches 

Bach: — To draft the back of the nightgown first 
draw a horizontal line the length of the paper and one 
inch from the edge. For the curve at the neck, always 
mark down one-fourth of an inch from the edge of the 
paper to 1. From 1 always measure down four inches 
on the main line to 2 for the slant of the shoulder. To 
find the waist line measure down from 1 to 3 the length 
of the back. From the waist line, 3, measure up to 4, 
the under-arm measurement, to find where the curve 
under the arm should be. 

From 1 measure out to 5 one and one-half inches for 
a 12-inch neck, adding one-eighth of an inch for each 
additional inch, and subtracting the same amount for 
each inch less in the neck measurement. Thus, for a 
thirteen-inch neck, measure out one and five-eighths 
inches, and for an eleven-inch neck, measure out one 
and three-eighths inches. Draw a curve from 5 to 1. 

To find the correct slant of the shoulder, always meas- 
ure' out from 2 to 6 eight inches. The width of the 
back is found by measuring out from 4 to 7 half of the 
width of the back measurement, plus one and three- 
fourths inches, which, taken from the front and added 
to the back, will bring the seam directly under the arm. 
At the waist line, 3, measure out to 8 the same number 
of inches as from 4 to 7. 



112 SEWING AND GARMENT DRAFTING. 

From 8 measure down three inches to 9, then out two 
and one-half inches to 10, to give the right slant to the 
under-arm seam. Connect 5 and 6, marking the length 
of the shoulder. Measure up one-half inch from the 
dotted line to 11, and connect 5 and 11 with a slightly 
inward curved line. 12 is an inward curve at the arm's 
eye drawn from 11 to 7. 13 is the under-arm seam 
drawn from 1 through 10 slanting to the bottom of the 
gown. 14 is the lower edge of the hack yoke, and is 
drawn one inch below 2. 

Front: — In drafting the front, of the nightgown, first 
draw a horizontal line the length of the paper and two 
inches from the edge. On this line always measure 
down to 1 two inches for the shoulder slant. From 1 
always measure down six inches to 2, to find the bust 
line. From 2 measure down to 3 the length of the 
under-arm measurement, to find the waist line. 

From the top of the main line measure out on the 
edge of the paper to 4 two inches for a twelve-inch neck, 
adding one-eighth of an inch for each additional inch, 
and deducting the same amount for each inch less in 
the neck measurement. From 1 to 5 always measure 
out nine inches to give the correct slant of the shoulder 
seam. 

To find the length of the bust line from 2 to 6, sub- 
tract the width of the back from the bust measure, which 
in the measurements used in the illustration leaves 
twenty-two and one-half inches. Since we are drafting 
but half of the front, we have eleven and one-fourth 



SEWING AND GARMENT DRAFTING. 113 

inches, less the one and three-fourths inches added to 
the width of the back, or nine and one-half inches as the 
width of the front, from 2 to 6. From 3 measure out 
on the waist to 7 the same number of inches as the bust 
line. 

The chest line. 8 to 9, is measured out one inch above 
the bust line and is one-half the width of the chest. 
From 7 measure down three inches to 10, and out from 
that point two and one-half inches to 11, to find the 
correct slant of the under-arm seam. Connect 4 and 5 
with a dotted line, marking the length of the shoul- 
der 12. 

From 4 draw an inward curve, 13, to one and one- 
half inches below 1 for a twelve-inch neck. This meas- 
urement also varies one-eighth of an inch for each inch 
over or under a twelve-inch neck measure. 14 is the 
inward curve at the arm's eye, drawn from the shoulder 
to the bust line, touching the chest line. 15 is the 
under-arm seam, slanting from 6 through 11 to the bot- 
tom of the gown. 

Cut out the pattern, allowing for seams. Pin the 
back on a fold of the cloth, allowing between the fold 
and the pattern as much fullness as desired, trace and 
cut it out. 

A nightgown with a yoke in the back wears longer 
and is more satisfactory. The front of the gown is cut 
on a fold of the cloth, fullness being allowed on the 
shoulder, or beyond the front edge of the pattern, accord- 
ing to the style of garment desired. The extra width 



114 SEWING AND GARMENT DRAFTING. 

at the bottom of the front and back is supplied by gores 
of the same length and width. For a very wide gown 
the gores should extend up under the arm. The open- 
ing may be either in the middle of the front or on the 
left side. 

When cutting the garment the exact length may be 
obtained by measuring from the bust line the length 
to the bottom of the gown. All the seams in the body 
of the gown should be felled or French seamed. From 
five to six yards of muslin are required to make a night- 
gown. 



SEWING AND GARMENT DRAFTING. 



115 



Nightgown Sleeve: — The measurements taken for 
this sleeve were : 

Outside shoulder to hand 24 inches 

Inside arm's eye to hand 19 inches 

Arm's eye 12 inches 

Hand 8 inches 



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NIGHTGOWN SLEEVE. 



Draft this sleeve with the fold of paper towards you. 



116 SEWING AND GARMENT DRAFTING. 

From 1 measure up on the fold to 2 the outside length 
of sleeve, and from 1 to 3 the inside measure. 

From 1 measure out to 4 half the hand measure, plus 
two and one-half inches. From 3 measure out to 5 half 
the arm's eye, plus two and one-half inches. From 2 
measure out to 6 half the arm's eye, less one and one- 
half inches, and from that point draw an outward 
curved line to 5 for the upper side of sleeve. 

For the curve under the arm measure in from 5 to 7 
one-fourth the arm's eye, and draw an outward curved 
line from 2 through 7 to 5, extending it one-fourth inch 
below the arm's-eye line. Connect 5 and 4 with a dot- 
ted line. Mark the length of inside arm's eye to hand 
measurement, then draw a slightly curved line for the 
seam. For the bottom of sleeve connect 1 and 4 with a 
slightly curved line. 

Cut the pattern through both thicknesses of paper, 
cutting the upper portion first. Then, opening the pat- 
tern, cut out on the line from 2 through 7 to 5. Allow 
for seams. Open the pattern and pin to the material 
with the line 1 to 2 straight with the warp. Finish 
with French seam, and gather the top from one and 
one-fourth inches above 5 around to one and one-half 
inches above 7, always arranging the fullness so that it 
will be greatest about an inch in front of the shoulder 
seam, gradually lessening it as it nears the seams of the 
sleeve. 

The sleeve should be placed in the gown so that the 
seam will be two and a half to three inches in front of 



SEWING AND GARMENT DRAFTING. 



117 



the under-arm seam. The sleeve as drafted is as long- 
as it. should he when finished. Fold hack the width of 
the trimming. Gather the bottom of sleeve to within 
one inch of each side of the seam, and put on the trim- 
ming with a narrow hand. 




CHEMISE. 

CHEMISE. 

The following measurements were used for the 
chemise illustrated : 

Neck 12 inches 

Bust 34 inches 

Waist 24 inches 



118 SEWING AND GARMENT DRAFTING. 

Back 1G inches 

Under arm 8f inches 

Chest 13 inches 

Width of back 1H inches 

Shoulder 5^ inches 

Bach: — Draw a horizontal line two inches from the 
edge of the paper, and measure down on this line one- 
fourth of an inch to 1 for the curve at the neck. From 

I measure down four inches to 2 for the slant of the 
shoulder seam, and from 1 to 3 measure the length of 
the back to determine the waist line. From 3 measure 
up to 4 the under-arm measure. 

From 1 measure out to 5 one and one-half inches 
for a twelve-inch neck, allowing one-eighth of an inch 
for each additional inch in the neck measurement, or de- 
ducting the same amount for each inch if the neck 
measurement be less than twelve inches. From 2 al- 
ways measure out eight, inches to 6 to get the correct 
shoulder slant. From 4 measure out to 7 one-half the 
width of the back plus one and three-fourths inches, 
which will bring the seam under the arm, as no under- 
arm piece is used in this garment. Measure out a like 
amount from 3 to 8, and connect 7 and 8 by an inward 
curved line. 

Connect 5 and 6 by a dotted line, marking off the 
length of the shoulder: Figure 9 illustrates the width 
of the shoulder seam in a chemise, which is two inches. 

II is the neck curve drawn from the shoulder to three- 
fourths of an inch above 2, and 10 is the arm's-eye curve 



SEWING AND GARMENT DRAFTING. 119 

drawn from the shoulder to 7. The under-arm seam, 
12, is a curved line drawn from 7 to 8. Dotted lines 
show the fullness allowed in the back, but more may be 
added if desired. A square cut is also shown by a 
dotted line. 

Front: — Draw a horizontal line three inches from the 
edge of the paper. From the top of the paper measure 
down two inches to 1, and from 1 always measure six 
inches to 2 for the bust line. From 2 to 3 is the under- 
arm measure, 3 being the waist line. 

Measure out from main line to 4 two inches for a 
twelve-inch neck, allowing one-eighth of an inch more 
for each additional inch in the neck measurement, and 
deducting the same amount if the neck measures less 
than twelve inches. Always measure out nine inches 
from 1 to 5 to determine the correct slant of the shoulder 
seam. 

From 2 to 6 is the bust line, which is obtained by 
subtracting from the bust measure the width of the 
back and dividing the remainder by two for half of 
the front. But as the back has been made one and 
three-fourths inches wider, so that the seam will come 
under the arm, this amount must be taken from the 
front. 7 is the chest line taken one inch above the 
bust line and out one-half of the chest measurement. 

Connect 4 and 5 with a clotted line, marking the 
length of the shoulder, and making the shoulder seam 
of the garment, 8, two inches wide. 9 is the arm's-eye 
curve drawn from the shoulder through 7 to 6, the bust 



120 SEWING AND GARMENT DRAFTING. 

line. 10 is the neck curve drawn from the shoulder 
to one inch above the chest measure. 

A square cut may be obtained by following the dotted 
line. For the seam under the arm draw 11, an inward 
curved line, from 6 to the waist line. Dotted lines 
show the amount of fullness required for the front. 
The chemise should be finished with French seams. 

It may be cut just to the waist line, or two or three 
inches below it, if for a Marguerite, or it may be cut 
long and made plain or with a ruffle on the bottom like 
an underskirt. The neck and sleeves are pretty finish- 
ed with beading with ribbon drawn through it to regu- 
late the fullness. 



SEWING AND GARMENT DRAFTING. 



121 



CORSET COVEE. 

The measurements taken for the corset cover illus- 
trated were: 



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CORSET COYER. 



iNeck 

Bust 

Waist 

Front 

Length of back 
Back balance . 
Under arm . . . 



12 inches 
34 inches 
21 inches 
19-i inches 
16 inches 
14r| inches 
. 8f inches 



122 SEWING AND GARMENT DRAFTING. 

Chest 13 inches 

Width of back 11^ inches 

Shoulder 5^ inches 

Dart ]STo. 1 G inches 

Dart No. 2 6^ inches 

Bach: — In drafting the back first draw a horizontal 
line the length of the paper and one inch from the edge. 
Measure down on this line one-fourth of an inch to 1 
to find the curve at the neck. From 1 always measure 
down four inches to 2 to find the correct slant of the 
shoulder seam ; and from 1 measure the length of the 
back to 3 to find the waist line. From the waist line, 3, 
always measure up on the line to 4 the under-arm meas- 
urement. 

Beginning at the top measure out from 1 to 5 one 
and one-half inches for a twelve-inch neck, allowing 
one-eighth of an inch for each additional inch in the 
neck measurement, or deducting the same amount if 
the neck measure is less than twelve inches. Always 
measure out eight inches from 2 to 6 for the slant of the 
shoulder seam. From 4 measure out to 7 one-half the 
width of the back, and from 7 measure up one inch and 
out one-half inch to get the curve of the arm's eye. 

Measure in from 3 three-fourths of an inch for the 
slant of the seam in the center of the back; and from 
that point measure to 8 one-half of the width of the back 
at the waist line. For a twenty-four inch waist this 
measurement is three and one-fourth inches for a corset 
cover. For each additional inch in the waist measure- 



SEWING AND GARMENT DRAFTING. 123 

ment allow one-fourth of an inch, and for each inch less 
deduct the same amount. 

Connect 5 and 6 with a dotted line and mark the 
length of the shoulder. Draw the slant in the back, 
10. 11 is the back-balance, and determines where the 
shoulder seam should come. From 7 mark up one 
inch, and from that point draw 14, which is an inward 
curved line. 13 is the arm's-eye curve, and is drawn 
from 9 to the point one inch above 7. The shoulder 
seam, 12, should be two inches wide. -15 is the neck 
curve, and is drawn from the shoulder to a point three- 
fourths of an inch above 2. 

If a square cut is preferred it may be obtained by 
following the dotted lines. 16 is a straight line extend- 
ing three inches below the waist line and out to the 
main line. 17 is an outward curve three inches down 
and slanting one inch. 18 is a slanting curve connect- 
ing 16 and 17. 

Front: — To draft the front of a corset cover first 
draw a horizontal line two inches from the edge of the 
paper. Measure down on the line two inches to 1 to 
find the correct slant of the shoulder seam. From 1 
always mark down six inches to 2 to find the bust line. 
Measure from 2 to 3 the length of the under-arm meas- 
urement to find the waist line. 

Measure out on the upper edge of the paper two 
inches from the main line to 4 for a twelve-inch neck, 
allowing one-eighth of an inch for each additional inch 
in the neck measurement, or deducting the same amount 



124 SEWING AND GARMENT DRAFTING. 

if the neck measure is less than twelve inches. From 1 
always measure out nine inches to 5, which will give 
the correct slant of the shoulder. 

From 2 to 6 is the bust line. To find the length 
of this line subtract the width of the back from the 
bust measurement, and, since but one-half of the front 
is being drafted, divide the remainder by two and 
the number of inches will be the length of the line from 
2 to 6. From 6 mark in two and one-half inches to 7 
for the under-arm piece for a twenty-four-inch waist, 
add or deduct one-eighth of an inch for each inch more 
or less in measurement. The same amount is also 
marked in from 8 on the waist line. Draw a straight 
line, 9, from 8, extending it up one inch above 6. 

Connect 7 with the waist line by a dotted line, 10, 
and on each side of this dotted line are slightly curved 
lines which outline the forms. Connect 4 and 5 with 
a dotted line, marking off the length of the shoulder, 
and making the shoulder seam, 11, two inches long. 
One inch above the bust line measure out to 12 one-half 
of the chest measure. Draw the arm's-eye curve, 13, 
from the shoulder through 12 and 7 to 14. 14 is the 
curve one-half inch in from the top of line 9, extending 
down two and one-half inches to the line. 15 is the 
neck curve drawn from the shoulder to one and one-half 
inches above the chest line. 

To find the permanent waist line subtract from the 
front measurement the number of inches across one- 
half of the back of the neck. Measure the remaining 



SEWING AND GARMENT DRAFTING. 125 

number of inches from 4 to the main line, and draw the 
waist line from that point to the under-arm piece. 
Mark in on the waist line one and one-half inches to 
find the location of the first dart. 

To find the quantity to put into the darts, measure the 
back, which in the illustration is six and one-half inches. 
Subtract this from the waist measure, twenty-four inch- 
es, and there are seventeen and one-half inches left. 
This divided by two would give eight and three-fourths 
inches for each side of the front, which measured out 
on the waist line leaves three and one-half inches for 
the darts. As the first dart is always smaller than the 
second, mark off one and one-half inches for the first 
and two inches for the other, leaving a space three- 
fourths of an inch wide between the darts. 

For a waist measurement over twenty-six inches, the 
space between the front and first dart, also the space 
between the darts, should increase one-eighth of an inch 
for each additional inch in the measurement. 

The first dart, 19, is straight, and the second, 20, 
slants slightly towards the back and is one-half inch 
higher than the first. The dart lines are slightly curv- 
ed to the waist line and straight below; the width at 
the bottom being just half that at the waist line. 21, 
22 and 23 are curved lines extending down three inches 
from the waist line. 21 slants one and one-half inches. 
22 slants one and one-fourth inches. And 23 slants 
three-fourths of an inch. 

Measure up three-fourths of an inch from the top 



126 



SEWING AND GARMENT DRAFTING. 



of the second dart, and draw a. dotted line extending 
one-half of an inch beyond the main line. Then draw 
an outward curved line from the neck through that point 
to the waist line. Trace and allow for seams when cut- 
ting the waist. Begin at waist line and baste carefully 
on tracing. A corset cover should be made with felled 
seams. One yard of material is required for making 
this garment. 




SEAMLESS CORSET COVER. 



Seamless Corset Cover: — Another method of making 
a pretty corset cover is to make it without seams. 
First draft a French back, then draft a plain front. 



SEWING AND GARMENT DRAFTING. 127 

Instead of putting in darts, take off in front from the 
bust line to waist line one-half the quantity usually 
used in darts. Take off the other half from the back 
seam slanting in from bust line to the waist line. Cut 
out this front and connect it with the French back, as 
indicated by the dotted line. This makes a bias front. 
Place the center of back on a fold of the material, al- 
lowing for fullness if desired. Finish with a three- 
inch ripple at the bottom. A narrow beading, through 
which ribbon can be drawn, makes a pretty finish for 
the neck. 



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COMBINATION SOT. 



130 SEWING AND GARMENT DRAFTING. 

COMBINATION SUIT. 

To draft a combination suit, first draft a French 
back, the same as for a corset cover, except that, from 
4 to 7, measure out one-half the width of back, plus one 
and three-fourths inches, and from 8 to 9 measure out 
the width of back on the waist line, plus one and three- 
fourths inches, to bring the seam under the arm. 

Then draft a corset cover front, except that the one 
and three-fourths inches added to the back is taken from 
the bust line, 11 to 12, and the waist line, 13 to 14, is 
drafted the same length as the bust line, thus omitting 
the under-arm piece and bringing the seam directly 
under the arm. 

Draft the drawers as if they were to be made sep- 
arately, except that two inches should be added to the 
top to take the place of yoke. Unfold the drawers 
pattern and join the front to the front of the waist, plac- 
ing 14 one inch from the top of the fold, as indicated by 
the dotted line in diagram. 

The front of the drawers will then extend three 
inches beyond the front of the waist. If the suit 
is to be made with darts, cut the front of the draw- 
ers on line 13 to 15, and extend the darts down into 
the front of drawers, as illustrated. If fullness instead 
of dart.s is desired, retain the full width of drawers, 
extending the same amount up even with the neck to 16, 
as indicated by the dotted line. 

From the top of fold measure out one inch to 17 
for dart over hip. Measure down three inches on the 



SEWING AND GARMENT DRAFTING. 131 

fold for length of dart. Gather the back of drawers, 
leaving a plain space two inches in from 17, and join 
them to the back of waist. 

A nnion suit is very pretty made with a double row of 
beading at the waist line and the fullness drawn up with 
ribbons. The neck may be finished in the same man- 
ner. If the combination suit is buttoned in front, the 
drawers will have to be made open. Finish with felled 
seams. Face arm's eye and opening of drawers. Two 
and one-half yards of muslin are required to make a 
union suit, it trimmings are of other material. If 
trimmed with itself, three yards would be needed. 

Draft a child's waist and drawers, joining them to- 
gether in the same manner as for the adult's union 
suit, and a nice pattern for children's night drawers 
will be obtained. For a child the waist should open in 
the back, and the back of the drawers be put into a 
band; which should button to the waist. The leg 
should be drafted to the ankle. Either a two-piece or 
nightgown sleeve may be used. 



132 



SEWING AND GARMENT DRAFTING. 



Shirt Waist. 
The following measurements were used to draft the 
shirt waist illustrated : 





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SHIRT WAIST. 

Neck 12 inches 

Bust 36 inches 

Front 19£ inches 

Length of back 1G inches 

Under arm 8f inches 

Chest 15 inches 

Width of back 12 inches 

Shoulder 64 inches 



SEWING AND GARMENT DRAFTING. 



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134 SEWING AND GARMENT DRAFTING. 

Back: — For drafting the back draw a horizontal line 
the length of the paper and one inch from the edge. 
From top of the line measure down one-fourth of an 
inch for curve at back of neck. From 1 always measure 
down four inches to 2 for shoulder slant, and from 1 
measure down to 3 the length of the back to find the 
waist; line. From 3 measure up to 4 the length of the 
under-arm measurement to determine the top of 
under-arm seam. From 1 measure out to 5 one and one- 
half inches for a twelve-inch neck, adding or deducting 
one-eighth of an inch for each inch more or less in the 
neck measurement. From 2 always measure out to 6 
eight inches for slant of shoulder seam. From 4 meas- 
ure out to 7 half the width of back, plus one and one- 
fourth inches, to bring the seam under the arm. From 
3 measure out to 8 the same number of inches less one 
inch. 

Connect 5 and 6 with a dotted line, marking the 
length of shoulder. 

Draw line 9 carrying it through the point marking 
the length of shoulder and one-half inch beyond. Make 
a slightly curved line from the shoulder seam ; and from 
1 to 5 draw the neck curve. Connect 10 and 7 with a 
curved line for the arm's eye. 

Draw a dotted line from the bust line to the waist 
line and draw a slightly curved line, 11, for the under 
arm seam. 12 is an outward curve extending down three 
inches from the waist line and slanting one inch. The 
dotted line shows fullness allowed in the back. Any 



SEWING AND GARMENT DRAFTING. 135 

style yoke can be made or the back left plain and with 
a few gathers at the waist line. 

Front: — For drafting the front draw a horizontal 
line the length of the paper and two inches from the 
edge. 

From the top of line measure down two inches to 1, 
for correct shoulder slant. From 1 always measure 
down six inches to 2 to find the bust line; and from 2 
measure down to 3 the length of the under-arm measure- 
ment to find the waist line. 

From the top of line measure out to 4 two inches for 
a twelve-inch neck, adding or deducting one-eighth of an 
inch for each inch more or less in the neck measurement. 
From 1 always measure out nine inches to 5 for slant 
of shoulder seam. 

To find the width of front on the bust line, subtract 
the width of back from the bust measurement and for 
drafting half the front, divide the remainder by two. 
The number of inches obtained less the one and one- 
fourth inches added to the back, is the length of line 
from 2 to 6. Measure out the same number of inches 
from 3 to 7, less one inch. One inch above the bust line 
measure out to 8 one-half width of chest. Connect 4 
and 5 with a dotted line, marking the length of shoulder 
seam. 10 is the arm's eye curve drawn from the shoul- 
der to the bust line, touching the chest line. From 4 
draw 11, the neck curve, to the point one and one-half 
inches below 1 for a twelve-inch neck, adding one-eighth 
of an inch for each additional inch, and deducting the 



136 SEWING AND GARMENT DRAFTING. 

same amount for each inch less in the neck measure- 
ment. 

Connect 6 and 7 with a dotted line, and for the un- 
der-arm seam draw 12, a slightly curved line. To find 
the permanent waist line measure from 4 to the main 
line the front measurement, less the number of inches 
measured from 1 to 5 across the back of neck. Draw 
14 the correct waist line. 15 is an outward curve ex- 
tending down three inches from the waist line and 
slanting one and three-fourths inches. The dotted lines 
show fullness allowed on the shoulder and from the 
neck. 

To obtain the bias effect under the arm and to give 
the proper fullness for a plain waist turn the front as 
already drafted, so that the shoulder seam will be 
straight with the woof threads and draw the arm's eye 
curve and under arm seam, as shown by the dotted 
lines in the illustration. Remove the pattern and cut. 
the shoulder and arm's eye on the original lines. 

Finish the shirt waist with French seams, except on 
the shoulder, which should be stitched flat. When no 
seam is desired on the shoulder, put the back and front 
together, joining the shoulder seams, and trace a yoke 
as deep in front as desired. To fit a shirt waist, pass 
the hand down from the shoulder in back to the waist 
line, smoothing the material so that the warp will be 
straight from the shoulder to the waist line. Use the 
same method in front to find the amount of fullness to be 
gathered on the waist line, thus avoiding wrinkles un- 



SEWING AND GARMENT DRAFTING. 137 

der the arm. Often a dart taken diagonally at the waist 
line will give a more perfect fit under the arm. 

Band: — The neck band should be one and one-fourth 
inches wide. 1 to 2 is the middle of the back and should 
be cut on a fold of the material. The band should be 
made lengthwise of the cloth. The curved edge is 
sewed to the neck of the waist. 



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SHIET WAIST SLEEVE. 



138 SEWING AND GARMENT DRAFTING. 

SHIRT-WAIST SLEEVE. 

Shirt-waist Sleeve : — The following measurements 
were taken for the shirt-waist sleeve illustrated : 

Outside shoulder to hand 24 inches 

Inside arm's eye to hand 19 inches 

Arm's eye 12 inches 

Hand 8 inches 

Draft the sleeve on a fold of paper, having the folded 
edge of the paper towards you. From 1 measure up 
the length of the sleeve to 2, and from 1 measure up to 
3 the inside measurement. From 1 measure out to 4 
half the hand measurement, plus one inch. From 3 
measure out to 5 half the arm's eye measurement, plus 
two inches. From 2 measure out to 6 half the arm's 
eye measurement, less two inches. For the curve un- 
der the arm measure in from 5 t.o 7 one-fourth the arm's 
eye. 

For the top of the upper portion of sleeve draw an 
outward curved line from 6 to 5, and for the top of the 
under portion draw another outward curve from 2 
through 7 to 5, extending it one-fourth of an inch below 
arm's eye line. Connect 5 and 4 with a dotted line. 
Measure down the inside length, and draw an inward 
curved line for the seam. For the bottom of the sleeve 
connect 1 and 4 with a slightly curved line. The sleeve 
is drafted as long as it should be when finished. If 
made with a cuff, cut the sleeve off on dotted line 8 to 9. 
Cut the opening of the sleeve one and one-half inches 
in from 8, extending it up half the length of the cuff 



SEWING AND GARMENT DRAFTING. 139 

so that in laundering the cuff will iron easily. The cuff 
for an eight-inch hand is a straight band ten inches long 
by two and one-half inches wide. Cut the lining length- 
wise and the outside crosswise of the material. The 
interlining should be of butcher's linen, and should al- 
ways be shrunk before used. Finish the opening with a 
narrow extension for the under side. For the upper, a 
piece like the illustration is used. Stitch the short side 
to the opening with the seam on the right side and fold 
over on dotted line, 10, so that the pointed piece will 
be on the right side of the sleeve. Fold under the edges 
and stitch close to the edge. 

The sleeve should be placed in so that the seam will 
come from two to two and one-half inches in front of 
the under arm seam, and the fullest part of the gathers 
should be just in front of the shoulder seam. Sew in 
the sleeve and overcast the seam, except for very thin 
materials, when the seam should be bound or French 
seamed. Tack the seam back to the lining of the yoke, 
so that the sleeve will lie flat on the shoulder. From 
two to two and one-half yards of material are required 
for making. 



140 SEWING AND GARMENT DRAFTING. 

Dkess Skirt. 
SEVEN GORE SKIRT. 

Table of Measurements. 



Hip 


Front 
Gore 


Side Gore 
No. 1 


Side Gore 
No. -' 


Back 


34 


4f 


8i 


Si 


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51 


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36 


41 


81 


51 


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38 


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81 


5f 


13 


6 


13f 


9f 


25 


40 


4f 


81 


6 


131 


61 


14 


10 


25J 


42 


41 


9 


61 


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14i 


101 


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44 


5 


9i 


6i 


13| 6f 


14| 


10i 


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46 


54 


9£ 


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14 


7 


14* 


10i 


26 


48 


5i 


9f 


7 


141 


7£ 


15 


11 


26J 



The measurements of the skirt illustrated are : 

Band 24 inches 

Hip 38 inches 

Length 42 inches 

The band measure is taken tightly around the waist. 
To find the hip measurement, measure down from the 
waist line six inches, then around the hips. The length 
is found by measuring from the waist line to the floor. 
To secure the correct length, this measurement should 
be taken three times; that is, down the front, over the 
hips and down the back. For drafting the skirt pattern 



SEWING AND GARMENT DRAFTING. 



141 



follow the figures, opposite hip measure in the table 
of measurements. 



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SEVEN GOEE SKIRT. 



Front: — To draft the front mark down from the top 
of the paper to 1 three-fourths of an inch for the curve 
at the top. From 1 measure down six inches to 2, to 
find the hip line, and from 1 also mark off to 3 the 
length of the front. From 2 measure out to 4, four 



142 SEWING AND GARMENT DRAFTING. 

and five-eighths inches, the width of the front on the hip 
line; and from 3 measure out to 5 eight and three- 
fourths inches, the width of the bottom of front. 

Draw a line from the top of the paper through 4 to 5 
marking the length of the front 6. From the top meas- 
ure in to 7 one-half inch, and draw a curve. from that 
point to 1 for the top of the front. Draw a curve from 
7 extending down three and one-half inches to 8. 

From 6 measure out two and one-half inches to 9 
for the flare of the front gore. Also measure up from 
6 fifteen inches to 10 and draw a line to 9. Draw a 
curved line from 3 to 9 for the bottom of the front. 

Side Gore: — For the side gore draw a line two 
inches from the edge of the paper. Mark down on 
the line one inch to 1 for the curve at the top. From 
1 measure down six inches to 2, to find the hip line, 
and from 1 to 3 the length of the skirt. From 2 
measure out five and three-fourths inches to 4, the 
width of the first side gore on the hip line; and from 
3 measure out to 5 the width of the gore at the bottom. 

Draw a line from the top of the paper through 4 
to 5, marking the length of the gore 6. From 1 
mark in one-half inch and draw a curved line extend- 
ing down three and one-half inches to 8 ; and from 
the top of the paper mark in one-half inch to 7 and 
draw a curved line down three and one-half inches to 
9. Draw a curved line from 7 to 1 for the top of the 
gore. From 3 measure up fifteen inches to 10 for the 
flare of the first side gore and draw a line to 11. From 



SEWING AND GARMENT DRAFTING. 



143 



6 measure out three inches to 12 and up seventeen 
inches to 13. Draw a line from 13 to 12 and a curved 
line from 11 to 12 for the bottom of the gore. 







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Second Side Gore: — Draw a line two and one-half 
inches from the edge of the paper. Measure down 



144 SEWING AND GARMENT DRAFTING. 

on the line one-fourth inch to 1 for the curve at the 
top. From 1 measure clown six inches to 2 to find 
the hip line, and from 1 the length of the skirt to 
3. From 2 measure out six inches to 4, the width of 
the second side gore on the hip line, and from 3 to 5 
thirteen and three-fourths inches the width of the gore 
at the bottom. Draw a line from the top of the paper 
through 4 to 5, marking the length of the skirt 6. 
From 1 measure in one-half inch and draw a curved 
line extending down three and one-half inches to 8. 
From the top of the paper measure in one-half inch 
to 7 and draw a curved line three and one-half inches 
down to 9. For the top draw a curved line from 7 
to 1, curving it down three-fourths of an inch. From 
3 measure up seventeen inches, 10, and draw a line 
to 11 for the flare on the front of the gore. For the 
flare on the opposite side measure out from 6 five inches 
to 12, and up nineteen inches to 13. Draw a line from 
13 to 12 and a curved line from 11 to 12 for the bot- 
tom of the skirt. 

Back: — For the back gore draw a line the length of 
the paper, three-fourths of an inch from the edge. 
From the top of the paper measure down two inches to 
1 for the curve at the top. From 1 measure down six 
inches to 2 to find the hip line, and from 1 to 3 the 
length of the skirt. From 2 measure out to 4 nine and 
three-fourths inches the width of the back on the hip 
line. From 3 measure out to 5 twenty-five inches the 
width of the back at the bottom. 

Draw a line from the top of the paper through 4 






SEWING AND GARMENT DRAFTING. 145 

to 5 marking the length of the skirt in the back, 6. 

From 1 measure in one-half inch and draw a curved 
line down three and one-half inches to 7 and from the 
top of the paper draw a curved line to 1 for the top 
of back gore. From 3 measure up nineteen inches and 
draw a line from 8 to 9 for the flare of the back 
breadth. 

Draw a curved line from 9 to 6 for the bottom of 
the back. 

When cutting out the pattern allow the same amount 
on all gores for seams, and allow two inches on the 
bottom for making. Always notch the gores when 
cut so that no mistake will be made in putting the skirt 
together. Before cutting into either the lining or out- 
side material lay the entire pattern on the cloth so that 
no mistake will be made in cutting. If a lining is 
used cut that first and place the gores cut from the 
lining upon the material so that the warp of the dress 
goods will be straight with the warp of the lining, and 
cut the outside carefully so that the seams will be 
straight. 

Baste up the lining, commencing at the top, and fit' 
it first. The lining being properly cut, fitted and 
stitched, remove bastings, face the placket whieh should 
be left open ten inches. Put the lining into a belt 
placing the center of the front gore to the middle of 
the belt. 

Make the belt of silk, or some firm lining mate- 
rial, cutting it two and one-half inches wide, and the 



146 SEWING AND GARMENT DRAFTING. 

length of the waist measure, adding two and one-half 
inches for making. In putting a skirt into the hand 
hold the skirt towards you, and put it on, slightly full. 
Try the skirt on and arrange the fullness in the back 
in pleats or gathers, according to fashion. 

The skirt should be finished around the bottom with 
a facing and a braid which has been thoroughly shrunk. 

Fit the gores of the material the same as the lining, 
and if desired it can be put in the same band. Try on 
the skirt to see if any alterations are necessary. If 
not, stitch it up and after cutting out the basting threads 
press open the seams thoroughly. If the seams have not 
been stitched straight, waves will appear in them which 
will spoil the appearance of the skirt. 

The table of measurements is for a medium or forty- 
two inch length. For each extra inch in length allow 
one-fourth of an inch on each gore at the bottom. Thus, 
if a skirt measures forty-three inches in length, the bot- 
tom of the front gore would be nine and one-fourth 
inches, the bottom of the side gore thirty and one-fourth 
inches, and the back thirty-four and one-fourth inches. 

When cutting out the pattern allow the same amount 
on all gores for seams, and allow two inches on the bot- 
tom for making. Always notch the gores when cut, so 
that no mistake will be made in putting the skirt togeth- 
er. Before cutting into either the lining or outside ma- 
terial, lay the entire pattern on the cloth, so that no 
mistake will be made in cutting. Cut the lining first, 
the pattern having been pinned securely to it. Place 



SEWING AND GARMENT DRAFTING. 147 

the gores cut from the lining upon the material so that 
the warp of the dress goods will be straight with the 
warp of the lining, and cut the outside carefully, so 
that the seams will be straight. 

Baste up the lining and fit it first, putting one dart 
in the center of front and, if the skirt has a wide side 
gore, to make it fit smoothly over the hips a dart should 
be taken in the gore three and one-half inches from the 
front seam, or directly over the hip bone. The length 
of the dart varies according to the prominence of the 
hips. The lining being properly cut and fitted, remove 
the basting, and sew the stiffening for the bottom of the 
skirt to each gore separately. 

If haircloth is used it should be shrunk first, and 
each piece bound at the top. Haircloth, which is the 
best stiffening to use for a skirt, should be cut straight 
of the weave, but canvas or crinoline should be cut on 
the bias. Baste the stiffening firmly and smoothly on 
the lining, and stitch twice across the top to hold it se- 
curely in place. ISText fit the gores of the material to 
the gores of the lining, with the interlining between. 
Smooth the outside on the lining, basting from the top 
down the straight edge first, then across the top. The 
front gore should be basted down the middle first. 
Press the hand firmly over the outside from top to bot- 
tom of the gore, so that the goods will not sag from the 
lining when the skirt is finished. Wide gores should 
be basted lengthwise two or three times. 

Baste the gores together, always beginning at the 



148 SEWING AND GARMENT DRAFTING. 

top, and using a fine basting stitch over the hips. 
It is best to take but one stitch at a time when basting 
a skirt, so that the side next to the seamstress will not 
be fulled. Stretch the material over the dart in the 
front, so that the outside will be smooth. The dart in 
the side gore cannot be concealed, but must be taken in 
the outside also. Try on the skirt to see if any altera- 
tions are necessary. If not, stitch it up, and after cut- 
ting out the basting threads press open the seams thor- 
oughly. If the seams have not been stitched straight, 
waves will appear in them, which will spoil the appear- 
ance of the skirt. Overcast the seams and the top of 
the skirt. 

Make the belt of silk, or some firm lining material, 
cutting it on the bias two and one-half inches wide 
and the length of the waist measure, adding one and 
one-half inches for making. Double and twist a strong 
cord. Fold the belt in the center lengthwise, run 
the cord through, and stitch on the machine. Turn 
in the ends and overhand them. Place the middle of 
(he front gore to the middle of the belt. Then, with 
the skirt next to you, hold it slightly full, and baste it 
to the belt, which should extend to the under part of the 
placket, or it may be placed across the placket, in which 
case the belt should be cut two inches larger than re- 
quired. Face the upper side of the placket, by a straight 
piece of material two inches Avide. The under part of 
rlie placket should be of the material, lined with the skirt 
lining and two inches wide when finished. A straight 
band is preferable for very slight figures. 



SEWING AND GARMENT DRAFTING. 149 

Try the skirt on and arrange the fullness in the 
back in pleats or gathers, according to fashion. If 
the skirt hangs correctly make it just the right length 
by pinning it up around the bottom. ' Baste where pin- 
ned, and try on again to be certain that the length is 
accurate. Face up the seams as high as the interlining, 
with narrow strips of lining cut lengthwise. The bot- 
tom of the skirt should be left turned up one or more 
inches. Trim it evenly, and bind it with a bias piece 
of liniug. Then hem it down. Finished in this way 
the haircloth or canvas will not wear through the bot- 
tom of the skirt, and the underside presents a very neat 
appearance. 

Brush braid, corduroy, or any other finish may be 
used on the bottom of the skirt. Fasten the belt 
with two hooks and eyes. Also put hooks and eyes on 
the placket, so that the opening may be kept firmly 
closed. Sew hangers on the inside of the skirt just over 
the hips. 

Furnishings for Shirt: — The following list of fur- 
nishings for a dress skirt will be found helpful, although 
quantities may vary with changes of style. For a skirt 
four and one-half to five yards wide, requires three and 
one-half to four yards or three lengths of material ; lin- 
ing five yards, or if silk is used, eight to ten yards ; hair- 
cloth one and one-half to two yards; large hooks and 
eyes; one-half yard of elastic for holding fullness in 
place ; brush braid, or other binding, four and one-half 
to five yards. 



150 



SEWING AND GARMENT DRAFTING. 



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THE PLAIN WAIST. 

THE PLAIN WAIST. 

The measurements taken for this waist were: 

Keck 12 inches 

Bust 34 inches 

Waist 24 inches 

Front 194 inches 

Length of back 16 inches 

Back balance 144 inches 

Under arm 8| inches 

Chest 13 inches 



SEWING AND GARMENT DRAFTING. 151 

Width of back 11^ inches 

Shoulder 5-J inches 

Dart No. 1 6 inches 

Dart 'No. 2 6| inches 

Back: — To draft the back of the waist first draw a 
horizontal line the length of the paper and one inch from 
the edge. Measure down on this line one-fourth of an 
inch to 1 to find the curve at the neck. From 1 always 
measure down to 2 four inches to find the correct slant 
of the shoulder seam, and from 1 measure down to 3 
the length of the back to find the waist line. The length 
of the under arm is measured up from 3 to 4. 

Beginning at the top of the line measure out from 1 
to 5 one and one-half inches for a twelve-inch neck, al- 
lowing one-eighth of an inch for each additional inch in 
the neck measurement, or deducting the same amount if 
the neck measures less than twelve inches. From 2 al- 
ways measure out eight inches to 6 to find the correct 
shoulder slant. From 4 measure out to 7, one-half the 
width of the back, and from 3 measure out the same 
number of inches. 

Draw from 1 to 5 the curve for the neck, 15. Con- 
nect 5 and 6 with a dotted line, marking off the 
length of the shoulder. From 3 first mark off three- 
fourths of an inch on the waist line for the slant of the 
seam in the middle of the back ; then one and one-fourth 
inches for the width of the back. Leave a space three- 
fourths of an inch wide, and for the side body mark off 
two inches to 8. The width of the back and side body 



152 SEWING AND GARMENT DRAFTING. 

at the waist line vary with the size of the waist. The 
measurements given are for a twenty-four inch waist. 
For each additional inch allow one-fourth of an inch, 
one-eighth on the back and one-eighth on the side body. 
For each decreasing inch take off a like amount. 

Draw the line 10 from 1 for the seam in the back. 
From the waist line at the center of the back draw the 
back balance, 11, through the point indicating the length 
of the shoulder, and curve the shoulder seam from 9 to 
5. From 7 mark up one inch to find the curve of the 
arm's eye, and draw a slightly inward curved line from 
9 to that point. Draw an inward curved line, 14, from 
the point one inch above 7 to 8 at the w T aist line. 

One and one-fourth inches above the top of line 1-4 
draw an inward curved line, 16, from the arm's eye to 
the second mark on the waist line. From one inch be- 
low the dotted line indicating the width of the back 
draw an outward curved line, 17, to the next mark on 
the waist line. This is the curve of the side body. 18 
is a line drawn three and one-half inches down from 
the waist line, slanting three-fourths of an inch. 19 is 
three and one-fourth inches long, and slants three- 
fourths of an inch. 20 is a line the same length, and 
has the same slant, as 19. 21 is an outward curve 
drawn three inches down, and slants one inch. 

Front: — To draft the front of the waist draw a hori- 
zontal line two inches from the edge of the paper. 
Measure down on the line two inches to 1 to find the 
correct slant of the shoulder seam. From 1 always 



SEWING AND GARMENT DRAFTING. 153 

mark down six inches to 2 to find the bust line. Meas- 
ure from 2 to 3 the length of the imder-arm measure- 
ment to find the waist line. 

Measure out on the upper edge of the paper two 
inches from the line to 4 for a twelve-inch neck, allow- 
ing one-eighth of an inch for each increase or de- 
crease in the size of the neck. From 1 always measure 
out to 5 nine inches for the shoulder slant. From 2 to 
6 is the bust line. 

To find the length of this line subtract the width of 
the back from the bust measurement, and, since we are 
drafting but half of the front, divide the remainder by 
two, and the number of inches will be the length of the 
line from 2 to 6. From 6 mark in two and one-half 
inches to 7 for the under-arm piece for a twenty-four 
inch waist, add or deduct one-eighth of an inch for each 
inch more or less in measurement. The same amount 
is also marked in from 8 on the waist line. 

Draw a straight line, 9, from 8, extending it up 
one inch above 6. Connect 7 with the waist line by 
a dotted line, 10. One inch above the bust line meas- 
ure out one-half of the chest measurement to 11. 
Connect 4 and 5 with a dotted line, and mark off 
the length of the shoulder, 12. Draw the arm's eye, 
13, curving from the shoulder through 11 and 7 to 14. 
Draw a curve, 14, one-half of an inch in from the top of 
line, 9, extending it down two and one-half inches to the 
line. Draw slightly curved lines each side of the dotted 
line, 10. The curve for the neck should be drawn froin 



154 SEWING AND GARMENT DRAFTING. 

the shoulder to one and one-half inches below 1 for a 
twelve-inch neck. Allow one-eighth of an inch for each 
additional inch in the neck measurement, and deduct 
the same amount for each inch less than twelve inches. 

To find the permanent waist line subtract from the 
front measurement the number of inches across one-half 
of the back of the neck. Measure the remaining num- 
ber of inches from 4 to the main line, and draw the waist 
line from that point to the under-arm piece. 

Mark in on the waist line one and one-half inches to 
find the location of the first dart. To find the quantity 
to put into the darts measure the back, which in the il- 
lustration is six and one-half inches. Subtract this 
from the waist measure, twenty-four inches, and there 
are seventeen and one-half inches remaining. This di- 
vided by two would give eight and three-fourths inches 
for each side of the front, which measured out on the 
waist line leaves three and one-half inches for the darts. 
As the first dart is always smaller than the second, mark 
off one and one-half inches for the first and two inches 
for the second, leaving a space three-fourths of an inch 
wide between the darts. 

For a waist measurement over twenty-six inches, the 
space between the front and first dart, also the space 
between the darts, should increase one-eighth of an 
inch for each additional inch in the measurement. 

The first dart, 19, is straight, and the second, 20, 
slants slightly toward the back, and is one-half inch 
higher than the first. The dart lines are slightly curved 



SEWING AND GARMENT DRAFTING. 155 

to the waist line, and straight below, the width at the 
bottom being just half that at the waist line. 

Measure up three-fourths of an inch from the top of 
the second dart and draw a dotted line, extending it one- 
half of an inch beyond the main line. Then draw an 
outward curve from the neck to the waist line. 21, 22, 
and 23 are outward curved lines extending down three 
inches from the waist line ; 21 slanting one and one-half 
inches, 22 slanting one and one-fourth inches, and 23 
slanting three-fourths of an inch. 

Allow for seams when cutting the pattern. Pin the 
pattern on the waist lining crosswise of the material, 
and trace on all the seams and the . waist line 
before cutting into the cloth. Great care must be 
taken to baste the seams on the lines of tracing, to use 
a fine basting stitch, and to begin to baste at the waist 
line. When basting the shoulder seam the front should 
always be stretched on the back. A small dart in the 
arm's eye will give a more perfect fit for one who is 
very full in the bust or hollow in the arms' eye. After 
the lining has been basted it should be tried on and any 
necessary alterations made. 

If the v/aist is to be made without seams on the out- 
side, except under the arms, the seams in the back and 
the darts should be sewed, the basting removed, the 
seams pressed open and trimmed evenly, and the whale- 
bones, which have been soaked to make them pliable, put 
in. All bones, except feather-bone, should be covered 
with a single casing, and stretched in at the waist line 
to prevent wrinkles in the waist. 



156 SEWING AND GARMENT DRAFTING. 

Before putting on the hooks and eyes the front 
should be stitched just far enough from the edge to al- 
low for a bone. Pin the fronts together and trace the 
places for the hooks and eyes, using the tape line for 
measuring. The markings should begin at the waist 
line and they should be an inch apart. Put the bones 
in the fronts before sewing on the hooks and eyes, 
which should be sewed on firmly. They will not un- 
fasten easily if alternated. Plain hooks are preferable. 
Finish the front by facing over the hooks and eyes a 
bias piece of silk, or other light material. 

The material for the outside may be put on the 
back, under-arm piece and front in any style desired, 
and the waist basted together again. It is a good 
plan to try on the waist once more before sewing up the 
under-arm seams. If satisfactory, sew and put in the 
whalebones, which should be sewn through to keep them 
from slipping out of place. Overcast the seams with 
twist, and face the bottom of the waist with a narrow 
bias piece of tailor's canvas, so that the waist will retain 
its shape. Cover the canvas with a bias piece of silk. 

Collar: — The collar in the cut is for a twelve-inch 
neck, and is drafted in an oblong half the length of the 
neck. It is well to cut and fit a collar of crinoline first, 
and if satisfactory cut another from light weight buck- 
ram or two thicknesses of tailor's canvas stitched to- 
gether. The outside may be put on in any style de- 
sired. 



SEWING AND GARMENT DRAFTING. 



157 



Sleeve : — The measurements taken for the sleeve illus- 
trated were: 

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Arm's eye 

Outside length 

Shoulder to elbow 16 inches 



12 inches 
26 inches 



158 SEWING AND GARMENT DRAFTING. 

Outside arm's eye to elbow 13^ inches 

Inside arm's eye to elbow 9^ inches 

Elbow 12 inches 

Hand 8 inches 

To draft the sleeve fold the paper and measure on the 
fold the outside length of the sleeve from the edge of 
the paper to 1. To find the bottom of the sleeve mark 
2, two and one-half inches from the edge of the paper. 
From 1 measure down to 3 the length from the shoulder 
to the elbow, to find where the elbow will come in the 
pattern. From 3 measure to 4 the length of the sleeve 
from the arm's eye to the inside of the elbow. From 
3 measure up to 5 the outside arm's eye to elbow meas- 
urement. 

To find the top of the sleeve measure out from 1 
to 6, one-half of the arm's eye. The width of the 
sleeve is found by measuring out from 5 one-half of 
the arm's eye, plus four inches to 8 for the upper por- 
tion of the sleeve, and from 5 to 7, measure out half of 
arm eye, less one inch for the under part of the sleeve. 
From 4 measure out to 9 one-fourth of the arm's eye 
for the curve of the under-arm portion. 

From 3 mark in two and one-half inches for the 
curve of the sleeve at the elbow. From 10 measure 
out to 11 one-half of the elbow measure, plus one and 
one-half inches to 12, so that the upper will bo wider 
than the under portion of the sleeve. 

To make a sleeve fit nicely the under part should curve 
more sharply than the upper. To give this effect, meas- 



SEWING AND GARMENT DRAFTING. 159 

lire from 10 to 13 one-half of an inch, and from 13 to 14 
the difference between the elbow measurement and. the 
width of the upper. In the sleeve illustrated the elbow 
measurement was twelve inches, the width of the upper 
part of the sleeve seven and one-half inches, and the un- 
der portion would be four and one-half inches. 

From 2 mark in one-half of an inch to 15 for the bot- 
tom of the sleeve. From 15 to 16 is three-fourths of an 
inch, and locates the inside seam of the under portion. 
The upper part of the sleeve is two inches wider at the 
wrist than the under ; hence, for an eight-inch hand the 
upper would be five inches wide, and the under three 
inches. For the upper measure from 15 to 17 the re- 
quired width of the upper at the wrist, 17 being one-half 
of an inch from the edge of the paper. Connect 16 and 
18 for the under part of the sleeve at the wrist. 

For the top of the sleeve draw a curve from 4 through 
6 to 8. For the inside seam of the upper, draw a curv- 
ed line from 4 through 10 to 15. Draw the outside 
seam as illustrated from 8 through 12 to 17. The curve 
under the arm is drawn from 4 through 9 to 7. The 
inside seam of the under part of the sleeve is drawn 
from 4 through 13 to 16. The outside seam is drawn 
from 7 through 14 to 18. 

Allow for seams when cutting the pattern. This 
pattern allows for fullness at the elbow, one-half of 
which should be above the point, 12, and the remainder 
below it. If the space for the gathers is too narrow, the 
elbow will have a pointed look ; the correct space is about 
two and one-half inches. 



160 SEWING AND GARMENT DRAFTING. 

After having cut out the pattern, place it on the lin- 
ing so that the lengthwise threads of the cloth will ex- 
tend straight down from the top of the sleeve. [The 
lengthwise lines in the illustration would correspond to 
the warp of the material.] Pin the pattern firmly to 
the material, and trace on all the seam lines. Cut out 
the lining and carefully baste the sleeve together on the 
tracing. Try it on and make any alterations necessary 
to secure a perfect fit, being careful. not to stretch the 
upper edges. 

Great care should be taken in putting the outside 
on the lining to have the warp of both materials draw 
together. When basting the sleeve together again it 
is best to take but one stitch at a time, so that neither 
the upper nor under part of the sleeve may become 
fulled, but will draw evenly, and not twist when placed 
in the garment. 

Carelessness in basting the sleeve often causes the 
amateur to think it has not been properly put in, 
or is not cut correctly. Every remedy but the true 
one is tried, the arm's eye becomes disfigured and 
stretched by much basting and trying on, and the 
sleeves are ruined by too much trimming and twisting. 
Deep notches in the inside seam, opposite the elbow, will 
prevent the sleeve from drawing. 

A sleeve too short from the shoulder to the elbow 
causes the inside seam to come over on top. The up- 
per part of the sleeve will also wrinkle, and the wearer 
will find it difficult to raise her arms. A sleeve can be 



SEWING AND GARMENT DRAFTING. 161 

made as tight as desired and still be comfortable if 
properly made. If back of waist is cut too narrow it 
will cause a well fitting sleeve to draw. 

When the sleeve has been correctly put together, over- 
cast the seams and finish the wrist with a bias piece of 
crinoline or light weight tailor's canvas, *over which a 
bias piece of the material, or silk, should be faced. In 
basting sleeve on waist, place the inside seam two to two 
and one-half inches in front of upper-arm seam. 

Arrange the fullness at the top so that it will be great- 
est about an inch in front of the shoulder seam, grad- 
ually lessening it as it nears the seams of the sleeve. 
The surest guide for deciding how to distribute the full- 
ness is to see that the warp runs downward in a straight 
line from the shoulder in all materials in which the 
thread can be followed. If the sleeve be correctly made 
all the parts will fall naturally into shape. A plain 
sleeve shows any defect in making more plainly than 
large, full sleeves, and requires more skill in making. 

One piece Sleeve: — To make the one-piece sleeve, 
pin the upper and under portion of the pattern from 
shoulder to elbow, thus making the outside seam come 
only to the elbow. 

Furnishings for Waist: — The following list will give 
the amount of materials used for the inside of a 
waist: Lining, two yards; wadding, one-sheet; tail- 
or's canvas, one-fourth yard; crinoline, one-fqurth 
yard; bone casing, four yards; ribbon for binding 
seams, ' one bolt ; basting cotton ; one spool thread ; 



162 



SEWING AND GARMENT DRAFTING. 



two or more spools silk ; one card hooks and eyes ; one- 
half yard silk cut on the bias, for facings; whalebone 
or substitute, an average of one-fourth yard for each 
seam : belt ; shields. 



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PLAIN WAIST 
WITH FRENCH BIAS DAKT. 



WAIST WITH FRENCH BIAS DART. 

The following measurements were used for drafting 
the waist illustrated : 

Neck 12 inches 

Bust 34 inches 

Waist 24 inches 



SEWING AND GARMENT DRAFTING. 163 

Front 19^ inches 

Length of back 16 inches 

Back balance 14^ inches 

Under arm 8f inches 

Chest ._ 13 inches 

Width of back 11-J inches 

Shoulder 5^ inches 

Dart Xo. 1 . 6 inches 

Dart aSo. 2 6^ inches 

Back: — To draft the back, first draw a horizontal line 
the length of paper. From the top of line measure 
down one-fourth of an inch to 1 for curve at back of 
neck. From 1 measure down four inches to 2, for shoul- 
der slant ; and from 1 measure down to 3 length of back 
to find the waist line. From 3 measure up to 4 the 
length of under-arm measurement. 

From 1 measure out to 5 one and one-half inches for 
a twelve-inch neck, adding or deducting one-eighth of 
an inch for each inch more or less in the neck measure- 
ment. From 2 always measure out eight inches to 6 to 
find slant of shoulder seam. From 4 measure out half 
the width of back to 7, and from 7 measure up one inch 
to get arm's-eye curve. 

On the waist line first measure out three-fourths of an 
inch to 3 for slant of seam in back, and from 3 for width 
of back on waist line measure three and one-fourth inch- 
es to 8, if a twenty-four inch waist. For each addi- 
tional inch add one-fourth inch, and for each inch less 
deduct the same amount. 



164 SEWING AND GARMENT DRAFTING. 

Draw a line, 10, from 2 to 3 for seam in back. 
Connect 5 and 6 with a dotted line, marking the length 
of shoulder seam, 9. Draw the back balance, 11, from 
the center of back through 9, and draw curve for shoul- 
der seam, 12. 13 is the arm's-eye curve. 14 is an in- 
ward curve drawn from the arm's eye to 8. 15 is the 
neck curve drawn from 1 to 5. 16 is a straight line ex- 
tending three inches below the waist and out to the main 
line. 17 is an outward curve extending three inches 
down and slanting one and one-fourth inches. 18 is a 
straight line at the bottom. 

Front: — To draft the front draw a horizontal line the 
length of the paper and two inches from the edge. 
From the top of the paper always measure down to 1 
two inches for shoulder slant. From 1 always measure 
down six inches to 2 to find the bust line, and from 2 
measure down to 3 the length of under-arm measurement 
to find waist line. 

From top of line measure out to 4 two inches for a 
twelve-inch neck, adding or deducting one-eighth of an 
inch for each inch more or less in the neck measure- 
ment. From 1 always measure out nine inches to 5 for 
correct slant of shoulder seam. 

To find the width of front on bust line subtract from 
the bust measurement the width of the back, and for 
half the front divide the remainder by two. This 
amount, with two or more inches added to increase the 
bias, is the length of line from 2 to 6. From 6 meas- 
ure in two and one-half inches to 7 for under-arm piece 



SEWING AND GARMENT DRAFTING. 165 

for a twenty-four inch waist, add or deduct one-eighth 
of an inch for each inch more or less in measurement, 
and from 7 to 8 measure off the amount added on bust 
line, which in the illustration is two inches. 

From 3 measure out to 9 the same number of inches 
as from 2 to 6. 10 is a straight line drawn from 9 to a 
point one inch above 6. From 9 measure in on the 
waist line two and one-half inches, and from that point 
draw a dotted line to 7 on the bust line. Then draw a 
slightly inward curve line for the seam of the under- 
arm piece. From the same point on the waist line draw 
a dotted line to 8, afterwards drawing a slightly inward 
curved line for seam of front. 

Connect 4 and 5 with a dotted line, marking the 
length of shoulder seam, 13. One inch above the bust 
line draw to 14 half the width of chest. 15 is the arm's- 
eje curve drawn from the shoulder to 8, touching the 
chest line. From top of line 10 measure in one-half 
inch to 16, and from that point draw a curved line to 7 
for top of under-arm piece. From 16 draw another 
curve extending down two and one-half inches and join- 
ing line 10. 17 is the neck curve drawn from 4 to a 
point one and one-half inches below 1, if a twelve-inch 
neck. One-eighth of an inch is added to or deducted 
from this measure for each inch more or less in the neck 
measurement. 

To find the permanent waist line, subtract from 
the front measurement the number of inches across 
half the back at the neck, and measure the remain- 



166 SEWING AND GARMENT DRAFTING. 

der from 1 down to the main line. That point de- 
termines the true waist line. Draw a line from that 
point to the point two and one-half inches in from 9. 
19 represents the space between the center of front and 
the first dart, which is one and one-half inches. 

To find the quantity to put in the darts measure the 
back, which in this figure is six and one-half inches. 
Subtract this from the waist measure, which is twenty- 
four inches. This leaves seventeen and one-half inches. 
Divide this by two, as we are making but half the pat- 
tern. Then measure out eight and three-fourths inches 
on waist line, and the quantity remaining on this line is 
what we have to put in the darts. In this figure we 
have five and one-half inches for the darts. Since the 
first dart is always smaller than the second, we have one 
and one-half inches for the first dart and four inches for 
the other, which in the illustration is marked 20. The 
space between the darts should be three-fourths of an 
inch. 

For a waist measurement over twenty-six inches, the 
space between the front and first dart, also the space be- 
tween the darts, should increase one-eighth of an inch 
for each additional inch in the measurement. 

21 is the center of the first dart, the outlines of which 
are curved to the waist, but straight below and one-half 
as large at the bottom as at waist line. 22 marks the 
center of the second dart, which extends one-half inch 
higher than the first. 23 is an outward curve extend- 
ing down three inches and slanting one and one-fourth 



SEWING AND GARMENT DRAFTING. 



167 



inches. 25 is an outward curve slanting three-fourths 
of an inch. 

Measure three-fourths of an inch above the second 
dart, and from that point out one-half an inch beyond 
main line. From 1 draw an outward curved line 
through that point to waist line. 



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PBINCESS DRESS. 



168 SEWING AND GARMENT DRAFTING. 

PRINCESS DRESS. 

The following measurements were taken for the prin- 
cess dress illustrated: 

Neck 12 inches 

Bust 34 inches 

Waist 24 inches 

Front 19^ inches 

Length back 16 inches 

Back balance 14^ inches 

Tinder arm 8f inches 

Chest 13 inches 

Width back ll^inches 

Shoulder 5^ inches 

Dart No. 1 6 inches 

Dart No. 2 6£ inches 

Bach: — To draft the back first draw a horizontal line 
the length of the paper and one inch from the edge. 
From the top of the line measure down to 1, one-fourth 
of an inch for the curve at the neck. From 1 always 
measure down to 2 four inches for shoulder slant, and 
from 1 measure down to 3 the length of back, to find the 
waist line. From 3 measure up to 4 the length of the 
under-arm measurement. 

From 1 measure out to 5 one and one-half inches for 
a twelve-inch neck, adding one-eighth of an inch for each 
inch more, or deducting one-eighth of an inch for each 
inch less, in the neck measurement. From 2 always 
measure out eight inches to 6 for correct slant of shoul- 
der seam. From 4 measure out to 7 half the width of 
back, plus one inch. 



SEWING AND GARMENT DRAFTING. 169 

From 3 on the waist line, first measure off three- 
fourths of an inch for slant of seam in the center of the 
back. From that point measure out one and one-fourth 
inches for width of back at the waist line. Then leave 
a space one and one-half inches wide and measure out 
two inches to 8 for side body. These measurements are 
for a twenty-four inch waist. For each additional inch 
add one-eighth of an inch on the back and one-eighth 
on the side body, and for each inch less deduct the same 
amount. 

Connect 5 and 6 with a dotted line and mark 9 the 
length of the shoulder. Draw 11, the back balance, 
from 3 to 9, thus determining the curve of the shoul- 
der seam. Draw 12 from 5 to 9. 

10 is the slant in the back drawn from 1 to the waist 
line. 13 is an inward curve for the arm's eye. 14 is 
an inward curve drawn from the arm's eye to the waist 
line. From 1 to 5 draw 15 the curve for the neck. 16 
is the arm's-eye curve for the side body. 17 is a slight- 
ly curved line drawn from one inch above 1 to 8 on the 
waist line. 18 is the side body curve drawn from the 
arm's eye to the waist line. 19 is a straight line ex- 
tending below the waist line and slanting as illustrated. 
20, 21, and 22 are curved lines, also extending below 
the waist line and slanting. 

Front: — For the front first draw a horizontal line 
the length of the paper and two inches from the edge. 
From the top of the paper measure down two inches to 
1 for shoulder slant. From 1 always measure down 



170 SEWING AND GARMENT DRAFTING. 

six inches to 2 to find the bust line ; and from 2 meas- 
ure down to 3 the length of the imder-arm measure- 
ment, to find the waist line. 

From the top of the line measure out to 4, two inches 
for a twelve-inch neck, adding one-eighth of an inch for 
each additional inch, or deducting the same amount for 
each inch less, in the neck measurement. From 1 al- 
ways measure out nine inches to 5 for correct slant of 
shoulder. 

To find the width of the front on the bust line, sub- 
tract the width of the back from the bust measurement, 
and for half the pattern divide the remainder by two. 
The number of inches obtained, plus two inches for the 
under-arm dart, is the length of the bust line from 2 to 6. 
Measure the same number of inches from 3 to 9. For 
the under-arm piece, measure in from 6 two and one- 
half inches to 7 for a twenty-four-inch waist, adding an 
eighth of an inch for every inch larger and deduct- 
ing the same amount for every inch smaller, and 
from 7 measure to 8, two inches for. the under-arm 
dart. 

From 9 measure in on the waist line to 10, the 
same amount as from 6 to 7, for width of under-arm 
piece on the waist line, and from 10 measure out to 
11 two inches for width of dart on the waist line. 12 
is the straight line extending from 9, at the waist line, 
to one inch above 6 and curving in one-half inch at 
the top. 13 is the slightly curved line connecting 7 
with 10 at waist line. 14 is another slightly curved 
line connecting 8 and 11. 



SEWING AND GARMENT DRAFTING. 171 

Connect 4 and 5 with a dotted line, and mark the 
length of the shoulder seam, 15. One inch above the 
bust line measure out to 16 one-half the width of the 
chest. 17 is the arm's-eye curve draw from the shoul- 
der to the bust line, touching the chest line. 18 is the 
curve for the top of the under-arm piece. 19 is the 
curve for the neck drawn from 4 to the point one and 
one-half inches below 1 for a twelve inch neck, varying 
this measure one-eighth of an inch for each inch more 
or less in the neck measurement. 

To find the permanent waist, line subtract from the 
front measurement the number of inches measured from 

I to 5 on the back of neck, and measure the remaining 
number of inches from 4 to the main line as indicated 
by dotted line 20. And from that point draw a line to 

II on the waist line. 21 is the space between the center 
of the front and the first dart, which is one and one-half 
inches. 22 is the second dart, which is three-fourths of 
an inch from the first. 

Eor a waist measurement over twenty-six inches, the 
space between the front and first dart, also the space 
between the darts, should increase one-eighth of an inch 
for each additional inch in the measurement. 

To find the quantity to put into the darts measure 
the width of back on the waist line, which in this 
figure is six and one-half inches. Subtract this from 
the waist measure, which is twenty-four inches. This 
leaves seventeen and one-half inches, which, divided 
by two, for half the pattern, gives us eight and three- 



172 SEWING AND GARMENT DRAFTING. 

fourths inches. Measure this out on the waist line, 
and the quantity remaining is the amount to be put 
into darts. 

Since the first dart is always smaller than the sec- 
ond, measure off one and one-half inches for the first 
and two inches for the other. 23 marks the straight 
line in the center of the first dart, and 24 marks the 
second, which slants slightly. The sides of the darts 
are slightly curved lines. The darts extend below 
the waist line, as indicated in the illustration. 25 is 
a slightly curved line extending below the waist, and 
slanting as illustrated. 26 is a curved line slanting 
three-fourths of an inch, and 27 is a curve slanting one 
and one-fourth inches. 

This pattern can also be adapted to different styles of 
wrappers. Fullness can be allowed either from the 
neck or from the chest line for a yoke, and they can be 
made either with or without a fitted lining. 



SEWING AND GARMENT DRAFTING. 



173 



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JACKET. 

The following measurements were used for drafting 
the jacket illustrated : 

Xeck 12 inches 

Bust 36 inches 

Waist 26 inches 

Front 19| inches 

Length back 16 inches 



174 SEWING AND GARMENT DRAFTING. 

Back balance 144 inches 

Under arm 8f inches 

Chest 14 inches - 

Width back 12 inches 

Shoulder 5 J inches 

Bach: — To draft the back first draw a horizontal 
line the length of the paper and two inches from the 
edge. For the curve at the neck, measure down on 
the line to 1, one-fourth of an inch. From 1 to 2 al- 
ways measure four inches to find shoulder slant, and 
from 1 measure down to 3 the length of the back to find 
the waist line. From 3 measure up to 4 the length of 
the under-arm measurement. 

From the top measure out to 5 one-and one-half inch- 
es for a twelve-inch neck, adding one-eighth of an inch 
for each additional inch, and deducting the same amount 
for each inch less, in the neck measurement. From 2 
always measure out to 6, eight inches for slant of shoul- 
der seam. From 4 measure out to 7 half the width of 
the back, and from 7 measure up one inch for the curve 
of the arm's eye. 

From 3 mark off three-fourths of an inch for the slant 
of the back seam. Then measure out one and one-half 
inches for width of back on waist line. Leave a space 
three-fourths of an inch wide, and measure out to 8, 
two and one-fourth inches for the width of side body on 
the waist line. These measurements are for a twenty: 
six-inch waist. For each additional inch in the waist 
measurement allow one-eighth of an inch on the back 



SEWING AND GARMENT DRAFTING. 175 

and one-eighth on the side body. For each decreasing 
inch in the waist measurement take off the same 
amount. 

Connect 5 and 6 with a dotted line, and mark the 
length of the shoulder. Draw the back balance, 11, 
from the center of the back to 9, and for the shoulder 
draw 12 a slightly curved line. 13 is the arm's-eye 
curve drawn from 9 to the point one inch above 7. 10 
is a straight line drawn from 2 to the waist line. 14 is 
a slightly inward curved line, drawn from 7 to 8. 

15 is the curve at the neck, drawn from 1 to 5. 16 
is an inward curved line drawn from the point in the 
arm's eye one and one-fourth inches above line 14 to the 
waist line. 17 is a curved line beginning one inch be- 
low the dotted line, marking the width of back, and ex- 
tending to the second mark on the waist line, outlining 
the curve of the side body. 18 is a straight line extend- 
ing five inches down from the waist line, and slanting 
outward three-fourths of an inch. 19 extends down five 
inches, and slants three-fourths of an inch. 20 extends 
down the same number of inches, but slants one and one- 
fourth inches. 21 is an outward curved line extending 
down five inches and out one and one-half inches. 

Front: — When drafting the front of the jacket, draw 
a horizontal line the length of the paper and two inches 
from the edge. From the top of line measure down 
to 1 two inches to determine shoulder slant. From 1 
always measure down six inches to 2 to find the bust 
line, and from 2 measure down to 3 the length of the 
under-arm measurement, to find the waist line. 



176 SEWING AND GARMENT DRAFTING. 

From the top of line measure out to 4 two inches for 
a twelve-inch neck, allowing one-eighth of an inch for 
each additional inch in the neck measurement, or de- 
ducting the same amount for each inch if the neck 
measure is less. From 1 always measure out to 5, nine 
inches to obtain correct slant of shoulder seam. 

To find the width of the front on the bust line subtract 
the width of the back from the bust measure, and for 
half the front, divide this amount by two. The number 
of inches obtained is the length of the line from 2 to 6. 
Measure out the same number of inches from 3 to 8. 
From 6 mark in to 7, three inches for the width of the 
under-arm piece for a twenty-six-inch waist, add or de- 
duct one-eighth of an inch for each inch more or less 
in measurement. From 8 mark in the same number of 
inches for width of under-arm piece on the waist line. 

Draw line 9, extending it one inch above 6. One- 
half of an inch in from this point draw an outward curve 
connecting it with line 9, one inch below 6. Draw 
dotted line, 10, from this point to 7, and make it slightly 
curved for the seam of the under-arm piece. 

One inch above the bust line, measure out to 11 half 
the width of the chest. Connect 4 and 5 with a dotted 
line, and mark 12 the length of the shoulder. 13 is the 
arm's-eye curve, drawn from the shoulder to the bust 
line, touching the chest line. 

Draw curve from top of line 9 to 7 for arm's eye 
curve of under-arm piece. 14 is the neck curve drawn 
from 4 to the point one and one-half inches below 1, if 



SEWING AND GARMENT DRAFTING. 177 

a twelve-inch neck. Allow one-eighth of an inch for 
each additional inch in the neck measurement, or de- 
duct the same amount if the neck measures less than 
twelve inches. 

To find the permanent waist line subtract from the 
front measurement the number of inches measured 
across the back of the neck from 1 to 5, and measure the 
remaining number of inches from 1 to the main line. 
From this point draw 16 the correct waist line. Con- 
nect 7 with the waist line. 17 is an outward curve ex- 
tending five inches below the waist line, and slanting 
two inches. 18 and 19 are curved lines extending down 
from the waist line five inches; 18 slanting two inches 
and 19 one inch. 

When cutting the jacket allow generous seams, es- 
pecially under the arm. Cut the lining, tracing all 
the seams. Baste together and try on, to see if any 
alterations are necessary. Cut the outside by the lining 
and trace to correspond, so that the jacket will fit 
smoothly. A light weight interlining adds a great deal 
to the fit of the garment. 

A tight-fitting jacket should be boned, except in the 
back seam, and until the bones become fitted to the form 
it should always be worn buttoned. 

Thorough pressing also adds a great deal to the fit of a 
jacket. If made with darts, one will be found sufficient 
for a slender figure. Use tailor's canvas or hair-cloth 
for stiffening the fronts, using a double thickness in the 
lapels. Shape the outside of the jacket and stitch the 



178 SEWING AND GARMENT DRAFTING. 

seams, bottom and front, before putting in the silk or 
satin lining, which, when fitted in and lightly tacked to 
the seams, should be hemmed to the outside. 

The illustration shows a double-breasted effect and a 
coat collar. 

Collar: — In the separate cut of collar, 1 is the center 
of the back, which is cut on a bias; 4 to 5 is the edge 
sewed to the neck of the jacket; 3 is the front of the 
collar; and 2 is the edge which is turned down. 

Cut the collar from a double thickness of tailor's can- 
vas, and stitch back and forth the same as on a coat col- 
lar. Put on the outside, and when finished, sew the 
right side to the jacket first, and blind stitch the back on. 



SEWING AND GARMENT DRAFTING. 179 

Jachet Sleeve: — The measurements used for drafting 
the jacket sleeve illustrated were : 
/ 




J8 

.JACKET SLEEVE. 



Outside length 26 inches 

Shoulder to elbow 16 inches 

Outside arm's eye to elbow 13^ inches 



180 SEWING AND GARMENT DRAFTING. 

Inside arm's eye to elbow 9^ inches 

Arm's eye 12 inches 

Elbow 12 inches 

Hand 8 inches 

To draft the jacket sleeve, measure the outside length 
on the fold of the paper from the edge up to 1. To 
find the slant of the bottom of sleeve measure up from 
the edge of paper two and one-half inches to 2. From 
1 measure down to 3 the length from the shoulder to 
the elbow, to find where the elbow will come in the 
pattern. From 3 measure to 4 the inside length from 
arm's eye to elbow. From 3 measure up. to 5 the out- 
side arm's eye to elbow measurement. 

Measure out from 1 to 6 one-half the arm's eye meas- 
urement, to find the top of the sleeve. The width of the 
sleeve is found by measuring out from 5 to 8 one-half of 
the arm's eye measurement plus four inches for the up- 
per portion and from 5 to 7 one-half the arm's eye plus 
one inch for the under portion. From 4 measure out to 
9 one-fourth of the arm's eye, for the curve of the 
under-arm portion. From 3 mark in two and one-half 
inches for the curve of the sleeve at the elbow. 

From 10 measure out to 11 one-half of the elbow 
measurement, plus one inch to 12, so that the upper will 
be wider than the under portion of the sleeve. 

To make a sleeve fit nicely the under part should curve 
more sharply than the upper. To give this effect meas- 
ure from 10 to 13, one-half of an inch, and from 13 to 
14 the difference between the elbow measurement and 



SEWING AND GARMENT DRAFTING. 181 

tlie width of the upper. From 2 mark in one-half of an 
inch to 15 for the bottom of the upper portion of the 
sleeve and from 15 to 16 three-fourths of an inch for 
the under portion at the wrist. The upper part of the 
sleeve is two inches wider at the wrist than the under ; 
hence for an eight-inch hand the upper would be five 
and three-fourth inches wide and the under four and 
one-fourth inches. For the upper measure from 15 to 

17 the required width at the wrist. Connect 16 and 

18 for the under part of the sleeve at the wrist. 

For the top of the sleeve curve from 4 through 6 to 8. 
For the inside seam of the upper draw a curved line 
from 4 through 10 to 15. Draw the outside seam as il- 
lustrated from 8 through 12 to 17. Draw the curve un- 
der the arm from 4 through 9 to 7. The inside seam of 
the under part of the sleeve is drawn from 4 through 13 
to 16. The outside seam is drawn from 7 the highest 
point of the under-arm curve through 14 to 18. 

Allow seams when cutting the pattern. The fullness 
at the elbow should be gathered so that one-half will be 
above the point, 12, and the remainder below it. If the 
space for the gathers is too narrow, the elbow will have 
a pointed look. The correct space is about two and one- 
half inches. 

After having cut out the pattern, place it on the 
lining so that the lengthwise threads of the cloth will 
extend straight down from the top of the sleeve. 
[The lengthwise lines in the illustration would corre- 
spond to the warp of the material.] Pin the pattern 



182 SEWING AND GARMENT DRAFTING. 

firmly to the material, and trace on all the seam lines. 
Cut out the lining and carefully baste the sleeve to- 
gether on the tracing. Try it on and make any altera- 
tions necessary to secure a perfect fit. 

Great care should be taken in putting the outside on 
the lining to have the warp of both materials follow the 
same line. Baste the sleeve together, taking but one 
stitch at a time, so that neither the upper nor under por- 
tions may become fulled, but will draw evenly, and not 
twist when placed in the jacket. Overcast the seams and 
face the sleeve with a bias piece of crinoline four or five 
inches deep. Stitch two rows across the sleeve, to simu- 
late a cuff, before putting in the silk lining. Deep 
notches in the inside seam, opposite the elbow, will pre- 
vent the sleeve from drawing. 

Arrange the fullness at the top, so that it will be great- 
est about an inch in front of the shoulder seam, gradual- 
ly lessening as it nears the seams of the sleeve. If the 
warp of the material in the sleeve runs downward in a 
straight line from the shoulder, we may consider the 
fullness as evenly distributed. The tight coat sleeve 
shows very plainly any defect in making. 

DRESS. 

Dress that shows the exercise of taste and thought, 
is elevating to the home, and does much towards beau- 
tifying the world. When dress becomes a mere matter 
of display, it loses its charm and the sympathy of those 
who love the beautiful. The clothing of an individual, 



SEWING AND GARMENT DRAFTING. 183 

to be attractive, should not be a matter of caprice, but 
should be worn with regard to definite laws of form 
and. color, and should be in harmony with the surround- 
ings and means of the individual. Beauty in per- 
sonal appearance is often almost destroyed by a lack 
of understanding how not to spoil the beautiful gift of 
nature. The object of dress may be threefold: To 
cover, to warm, and to beautify. 

In selecting the material for a gown, choose that 
which will add to, rather than detract from, the per- 
sonal charms of the wearer. Dress should be pleasing 
to the eye; it should be comfortable to wear, for then 
one may forget it; and it should be suitable to the oc- 
casion, that it may leave no room for criticism. The 
plain woman should be very careful in selecting her 
gown to avoid the delicate tints. She should choose 
instead the more quiet, steadfast colors. 

If a woman be tall and slender, her dress should be so 
made as to supply the fullness and softness needed; if 
she be tall and well proportioned, she will always look 
well in a tailor-made gown ; but if she be short and stout, 
simplicity is her safeguard. A small woman may wear 
brighter colors than a large one. There are few women 
who look well in every style and in every color. Only 
those colors that clear the complexion should be chosen. 

Colors which are not perfectly harmonious by contrast 
when placed side by side can be greatJy modified by 
dividing them from each other with lines of black or 
white, gold or silver. In contrasting colors divided 
with a line of white the eve readilv chooses for itself 



184 SEWING AND GARMENT DRAFTING. 

the harmonizing color required. This explains why a 
dress of unbecoming color is made more becoming by 
soft lines of white lace about the throat and hands. 

Care should be taken, not only in selecting the color 
of the dress, but also the material. Usually the lighter 
colors and delicate tints are most pleasing in the thin, 
light-weight materials. They are also more becoming 
and more suitable for house wear than the darker and 
more neutral tints, which are more suitable in heavy 
cloths, and in better taste for street wear. 

In selecting the color for the street dress, it will be 
found that the same color as the hair or eyes, or that 
which harmonizes with them, will be most becoming. 
For instance, one who has black hair with dark blue 
eyes will find gray pleasing. The tone of gray to be 
selected, whether it be of a pure black and white or 
tinged with blue or pink, depends upon the complexion. 
The pink grays are the best to clear a complexion with 
delicate coloring, while the blue gray is best suited to 
one with a good deal of color. Gray is one of the most 
trying colors, and should be selected with great care, 
because the complexion is affected most by the tints in 
the gray, which are many. 

With the dark or black hair the dark greens and 
dark reds would be becoming, or dark blue if the 
skin is not sallow. If the hair is chestnut brown, then 
the red browns may be warn ; but if the hair shades to 
gold or yellow, then the golden browns would be most 
suitable. A bit of pink can be introduced, producing 
a most pleasing effect. 



SEWING AND GARMENT DRAFTING. 185 

FACTS WORTH REMEMBERING. 

Mercerized Cotton: — Is that which has been treated 
by a process invented by John Mercer, a Lancashire cal- 
ico printer. He discovered that by steeping either the 
fiber or fabric from ten to twenty minutes in a caustic 
and syrupy potash lye and then cleansing it, the texture 
would shrink on drying, and would take more brilliant 
colors than the unmercerized fabrics. 

Linen: — Linen, with a round, smooth thread, and as 
free from dressing as can be obtained, will produce the 
most satisfactory results in hemstitching. If the linen 
is not very soft, the threads may be more easily drawn if 
the material is first pressed between two wet cloths and 
then allowed to dry while under tension. 

Damask: — Damask is more easily sewed after being 
washed, consequently many rinse the linen out. in wa- 
ter, before hemming. 

Selvedges: — Selvedges should be cut away for seams 
of any kind if they are to look smooth and flat. In wash, 
fabrics a selvedge is liable to draw up in laundering. 

Shirt Braids : — Skirt braids should be shrunk by wet- 
ting them thoroughly in warm water. 

Haircloth: — Haircloth is used as an inter-facing for 
a skirt. It should be shrunk first, so that it will not 
pucker or draw in the skirt. To shrink haircloth wet 
a piece of cloth the size of the haircloth and roll both 
together on a roller and leave them thus for at least 
twelve hours. Shake out and hang on a line until 
nearly dry and press with a hot iron. Haircloth should 
never be folded when shrinking. 



186 SEWING AND GARMENT DRAFTING. 

Pressing Seams: — Garments tit better if well pressed 
in making. Seams should be pressed on a board with a 
curved surface, so that the edges will not be visible on 
the right side of the garment. A sleeve* board which is 
narrow enough to go into a sleeve, should be used in 
pressing open the seams of sleeves. Tt is not advisable 
in dress making to press through a damp cloth as tailors 
do. Dress materials are so comparatively light and thin 
that wet treatment would injure color, finish and text- 
ure, causing them to draw up and look rough, thus en- 
tirely destroying the delicate appearance of the fabric. 

Shrink all cotton materials for shirt waists, so that 
when laundered the garment will fit as well as when 
first made. 

Mending Gloves: — Kid Gloves should be mended 
with cotton thread, using l.he button-hole stitch. 

Sewing Machine: — The best sewing machines are 
those that run smoothly and lightly and have not many 
or complicated arrangements for regulating the tension 
or length of stitch. 

To secure good results on a sewing machine, the 
worker should be thoroughly familiar with the rules 
issued with the machine for its special management ; 
it should be kept clean and well oiled, only the best 
machine oil being used ; and care should be taken in 
selecting a needle the correct size for the thread used. 



433 90 



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